One of the most anticipated offerings of the early 2010 season is the Folger Theatre’s production of Anne Washburn’s “Orestes, A Tragic Romp,” a new look at Euripides’ “Orestes.” A curiously modern work, considering it was written more than 2,400 years ago, Euripides’ play deals with a man isolated in a turbulent, unforgiving society. It makes reference to the gods and fate, but also to choice, responsibility and luck.
Washburn’s version faithfully reproduces the spirit of Euripides’ original, with all its humor and irony, but she has sharpened and energized its language and characters. Washburn’s play begins, as does the original, at the end of the Trojan War. King Agamemnon has returned to his home in Argos and been murdered by his wife, Clytemnestra.
Clytemnestra in turn has been murdered by her son, Orestes, in revenge for the death of his father. After killing Clytemnestra, Orestes collapses, driven mad by the Furies who torment him and by the knowledge that all of Argos wants him dead. As in Euripides’ version, Orestes’ sister, Electra, comforts and supports him.
Washburn accentuates the hypocrisy and duplicity of pompous politicians and opportunistic military leaders. She intensifies Euripides’ analysis of the role of civil justice. And she emphasizes the central role of Euripides’ chorus, which sings original music composed by Obie Award winner James Sugg. Directed by Aaron Posner, with Jay Sullivan as Orestes and Holly Twyford as Electra, “Orestes, A Tragic Romp” runs from Jan. 27 through March 7. Visit folger.edu for details.
In February, the Shakespeare Theatre presents two of Shakespeare’s history plays: “Richard II” and “Henry V.” The pairing of works is exciting for many reasons, primarily because it allows viewers to see a huge span of history, the long, unsettled decades when Richard II, Henry IV and Henry V dealt with war and civil unrest.
The way the Shakespeare Theatre is presenting these plays also is a rare treat. “Richard II” and “Henry V” will be performed in true repertory, with one cast of actors appearing in both plays on a rotating basis. Michael Hayden appears as Richard and Henry.
Calling the plays “The Leadership Repertory,” the Shakespeare Theatre asks familiar questions: What qualities may one expect from a leader in time of crisis? How differently do individual rulers lead? Richard and Henry are nothing like one another. Each has his personal beliefs about ruling and his ways of reconciling his private with his political life.
A distinct advantage of doing the plays side by side is that it highlights Shakespeare’s ability to blend national with personal concerns, to see princes and kings as men as well as rulers, issues which are central to both “Richard II” and “Henry V.”
Artistic Director Michael Kahn directs “Richard II” (Feb. 2 to April 11). David Muse directs “Henry V” (Feb. 4 to April 10). In addition to the plays themselves, there will be many events accompanying “The Leadership Repertory,” including a symposium, Synetic Theater’s production of “Antony and Cleopatra,” post-production discussions and more. Visit shakespearetheatre.org for details.
March brings a novel trio of plays to the Kennedy Center: Nights at the Opera is a five-week event featuring three plays by Terrence McNally, one of America’s pre-eminent modern playwrights. The three plays will be performed concurrently on different Kennedy Center stages. The first, “Golden Age,” is a new work, directed by Austin Pendleton, co-produced with the Philadelphia Theatre Company. It plays March 12 through April 4 in the Family Theater.
“Golden Age” takes place backstage at Paris’ Th??tre-Italien on Jan. 24, 1835, where Vincenzo Bellini waits to witness the premiere of his opera “I Puritani,” along with his friend, Francesco Florimo, and the singers for whom the opera was composed, The Puritani Quartet. The story plays out against a background of Bellini’s rivalry with Gaetano Donizetti over who would win ultimate favor with French audiences.
The second play in the trio is “The Lisbon Traviata,” directed by Christopher Ashley, which will appear in the Terrace Theater from March 20 to April 11. A play about romantic obsession and the worship of divas, this play’s name derives from an unauthorized recording of a 1958 performance in Lisbon by Maria Callas, the world-renowned American-born Greek soprano.
The final offering is “Master Class,” which will star acclaimed Broadway and television actress Tyne Daly. This Tony Award-winning play is McNally’s homage to Callas. Inspired by a series of master classes she conducted at the Juilliard School’s Music Division, it envisions the opera star recollecting her past glories and successes, as well as the failures of her life and career. “Master Class,” directed by Stephen Wadsworth, plays at The Eisenhower Theater from March 25 to April 18. Visit kennedy-center.org for details.
Whether your tastes run to Greek theater, Shakespeare or modern drama, the first three months of 2010 are rich with potential.
