2009: Agamemnon by Aeschylus, adapted and directed by Rachel Hogan

Agamemnon by Aeschylus, adapted and directed by Rachel Hogan.  WeThree at Belconnen Theatre, Belconnen Community Centre, June 10-13, 17-20 8pm and at Carey's Cave, Wee Jasper, June 14, 5pm (dinner and show packages available – bookings for this performance essential).  Bookings: 6251 2981

2467 years ago, only 52 years after the last tyrant was expelled from ancient Athens by the new rich middle class, Aeschylus presented this play about the legendary King of Argos, Agamemnon, returning home after 10 years away, finally destroying the city of Troy where his brother's beautiful wife, also his wife's sister, Helen, had been seduced by the Trojan, Paris.  In the often messy transition to democracy from dictatorships, just as we are watching in Indonesia and South Africa today, it is important to remind people of the horrors of the past.

Rachel Hogan's adaptation focusses on the personal experience of Queen Clytemnestra, played with clarity and understanding by Jenna Arnold, left "unmanned", learning to rule in her husband's place, speaking with a confidence he cannot accept on his return, and taking revenge on him for his past sacrifice of her daughter, Iphigenia, and now bringing home the Trojan king's young daughter, Cassandra.

Taking the place of the original chorus, a Wise Woman speaks to the audience directly in modern language as narrator and commentator, as well as speaking to her Queen as an observant and questioning commoner.  Diane Heather, using a torch to shine a light on us as if from the past, takes a critical view of our lack of understanding, explains what we need to know, and leads us into the action.  The writing of this role is well done, and Heather's characterisation is strong.  Alexandra Howard, an up and coming young actor to watch, demands our sympathy for the abused Cassandra, "inspired to speak of her own sufferings".

Bart Black's performance of Agamemnon needs more of a Shakespearean sense of his own majesty.  In the original text he is more of a politician rather than just a rough soldier.  Perhaps Hogan cut too much here.  But the women are the central focus as they should be, while the set design, use of masks, music and movement take us back to the images and ritual of ancient Greek theatre.  The play works well at Belconnen Theatre, and should be a special experience in Carey's Cave.

©Frank McKone, Canberra