The Oresteia, Shakespeare's Globe **

It would be very tempting for someone, when watching the Globe's Oresteia, to compare Aeschylus' play to the revolutionary Almeida production. Rory Mullarky's adaptation was never going to be as good as Icke's but it certainly is a very different production. This production keeps closer to the original in terms of plot, with a prominent chorus and lots of blood. There are many, many flaws. The views expressed in the final segment need updating and a new approach whereas Mullarky does not resolve some of the more problematic views on gender (when the line 'The mother's just a vessel' is played straight', you start to question this adaptation), Clytemnestra's character isn't developed enough and feels one-dimensional at times, and the dry chorus parts miss out the real 'action' that could feel potentially interesting. Despite this, the rhythms and eloquence of the language suits the majesty and vast space of the Globe. Adele Thomas directs a militaristic and at times surreal production with an off-putting atonal score from Mira Calix and a giant penis being paraded out for no apparent reason in bizarre conclusion to events. Hannah Clark's design mixes Greek tradition with a bloody dystopian future rather well and creates a sense of atmosphere that is similar to Titus Andronicus last year, even if it isn't quite as strong. The cast are solid and convincing in their roles. Katy Stephen's makes the most of her part as Clytemnestra whilst Trevor Fox's Aegisthus is a crazy counterpoint to George Irving's aloof Agamemnon. The Chorus, however, are the most impressive here who are at times divided and are one of the most effective Greek choruses I have seen. I feel sorry for the Globe for the clash of Oresteia's this season however, even without the competition, it is a deeply flawed production that struggles to keep it's audience interested for the long running time.

Oresteia, Trafalgar Studios *****

It was with great surprise and delight that I found out that Icke's acclaimed production was getting a West End transfer. I had no idea what it was about when I saw it at the Almeida so each twist of the plot seemed truly remarkable.  Getting to look back at this production is good, therefore, to be able to see the production with some knowledge of the plot was enlightening. The story of Electra makes more sense the second time around whilst you could see the proleptic irony in the first family dinner. I also forgot how shocking it is, much more so than 1984. The feminist spin at the end didn't feel forced and Oliver Ryan is just as creepy as Calchas whilst the original cast are just as spellbinding here as at the Almeida. I can't think of a production that I could have wished a West End run on more as this is an impressive and important piece of theatre that as many people as possible need to see.

My original blog post is here: http://britainstheatre.blogspot.co.uk/2015/06/oresteia-almeida-theatre_28.html 

Oresteia, Almeida Theatre *****

You have intense and then you have this. Icke's interpretation of Aeschylus's tragedy is so tense, I almost walked out. I have never seen any Greek drama which has had a real effect on me. I was underwhelmed by Binoche's Antigone and whilst I admired Kristin Scott Thomas' Electra, I didn't particularly feel anything about her situation. In this adaptation, you are shown every angle, from feeling sympathy for Williams' Klytemnestra to fearing her to the pain felt by Electra, perfectly portrayed by stage newcomer Jessica Brown Findlay who captures the pain as well as Scott Thomas yet, by showing her happy in the first act, the emotion is felt stronger (even though I don't think she ever existed!!). The traditional story is told through flashback through Orestes, who is played by Luke Thompson and who I think can have a more intense effect in the indoor space than at the Globe, who is telling this story to Lorna Brown's character, who remains ambiguous until the end. This family drama is set up well by Icke who creates a typical family atmosphere, hereby creating characters who you can feel for. The family dynamic at a glance seems normal; the odd family row but nothing major. This means that the dilemma that Agamemnon faces, here played in a statesmanlike fashion by Angus Wright, is made even more horrifying. It also makes the grief felt by Klytemnestra even more real. The use of song also helps this production gain traction, with the well known hit 'God Only Knows' being used for an eerie and haunting purpose. The moral dilemma asked to Agamemnon poses to the audience the same question, often asked in the RS classroom but here made all too real. They are the questions of how to measure and compare people's suffering and that of justice and equality. This family drama cum crime thriller cum horror extravaganza is made slick and efficient by Icke's decision to cut the chorus which, whilst usually would seem strange, here it works to create a bare, isolated stage which mirrors the feelings of the characters on the stage. This is helped by the cold, empty space designed by Hildegard Bechtler that encorporates the history of the text whilst encorporating video (which is designed excellently by Tim Reid) on sliding panels, along with modern costume to make this piece relatable instead of stuck in time. This is a landmark production of a greek play and, as well as maintaining the good form the Almeida has had over the past few years, has redefined how to stage a classic. It is pure class.