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Catherine Bennett highlights the trends in the performing arts world today.
Jonathan Cridford reviews 'Ghosts', one of the Freshers' plays for this year.
Agamemnon explores the effect of war in the life of the eponymous character. Originally a Greek text but translated and adapted by Steven Berkoff, the play proclaims to be a "timeless portrayal of conflict", featuring innovative dramatic techniques. I talked to its director Lisa Blair about some of the play’s most intriguing aspects.
How did you get involved with the project?
I directed Sarah Kane’s 4.48 Psychosis at The Theatre Royal last March through a joint partnership between Drama Society and the theatre. I was subsequently invited back by the artistic director Damian Cruden under my own name. The producer Patrick Lawther, who worked with me last time, is producing this production as well and we have set up a theatre company: Four Hundred and 48 Productions.
What do you think using students gives to a production?
Both York University and York St. John students have been chosen to be in this production. This production allows a merging of both universities and a relationship to be established between them, possibly for future productions. York St. John was an untapped resource up until now. They run several theatre courses and are deeply involved in their drama and that was one of the main reasons that I was keen to audition there.
The main themes that run throughout the play are conflict, lust and possession.
The play contains references to Vietnam. Have you tried to use this as an allegory for today’s situation in Iraq?
[Agamemnon] is an exceptionally relevant and important commentary on our time. The main themes that run throughout the play are conflict, lust and possession, yet the central idea most relevant to today’s audience is that a woman is powerful and ends up in control. This in itself is still quite controversial in today’s battle of the sexes.
How do you feel that physical theatre has added to your interpretation of the text?
Physical theatre has not been a wholly central concept in this play because I believe that Berkoff’s calling card can often hinder the language and poetic rhythm of the play. However, the set is built from four scaffolding poles, with chicken wire lashed across the back with gauze in front in order to allow for movement and tableau scenes.
Sum up Agamemnon in three words:
Graphic, brutal and relevant.
Agamemnon is running from 27 November to 1 December at York Theatre Royal, go here for more information and box office.
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