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Vengence, Poetry and Justice
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Oliver, Rodriguez
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By Sheldon Haun
Berkeley Repertory Theatre opens its new 600-seat Roda Theatre with a staging of The Oresteia by Aeschylus. Robert Fagels' translation is directed by Tony Taccone and Stephen Wadsworth. Part One in this tragic trilogy, which depicts a society's transition from savage vengeance to rational justice, is Agamemnon. This beautifully staged production contains exciting performances, but a few minor flaws stand in the way of its overall effectiveness.
Christopher Barreca's smooth columns and cold, carved-stone setting is nestled within high, rough, sheer cliffs and provides the main acting area for this drama. Heavy, wooden, riveted gates open to reveal a soft, warm, inviting interior where the bloody business of vengeance takes place off stage. His sky-painted scrim allows Peter Maradudin to paint the clouds with colored light and emphasize the mood of each scene. Upstage of the scrim, stagings of the sacrifice of Iphigeneia, and a view of the veiled beauty, Helen, vividly represent the poetic descriptions.
The highlight of this production is the performance of Francesca Faridany's Cassandra. This cursed prophet's visions are presented with clear and sharp movement and imagery. She delivers a deep-seated connection with the written text through her body and voice. This sequence is exquisitely supported and defined by Maradudin's subtle shifts in light. Moments of terror are illuminated with stark, white blasts and lead to Cassandra's quiet resignation to her doom in a soft, warm pool.
Derrick Lee Weeden in the title role has magnificent command and presence. His performance conveys not only the power of a victorious warrior but also the innocent trust which leads to his ultimate destruction. The weakness in his performance is a tendency to overly exaggerate and enunciate the text.
L. Peter Callender as the Herald turns in a solid, connected, and emotionally truthful performance. His character is vital in establishing pride and honor which are ultimately destroyed by treacherous hands.
Clytaemnestra (Robynn Rodriguez) and the Watchman (Michael Wiles), on the other hand, tend to rush through monologues and gloss over imagery that could be savored. Their performances, at times, emphasize a forced tempo rather than a connected emotional response. Both could benefit by trusting the text to hold the listeners' attention and allowing the well-crafted poetic images to work.
The leader of the chorus (Frank Corrado) powerfully demonstrates rational, calm thought and confidence as he expresses the fears of the citizenry. Though the ensemble effort of the chorus is strong and focused, there are some unnecessary and distracting elements. For example, why does one member of the chorus have only one arm? It seems as though his shoulder, elbow, and forearm are hidden beneath his robe while his empty sleeve dangles off his back. I can only suppose that this member of the chorus will appear as another character in the ensuing episodes, and this is an attempt to disguise him. Sound cues of kettle drums and wood blocks at times accentuate and support the chorus, but at other times it is drowned out. Sustained electronic feedback intended (?) for an eerie effect becomes unnerving and distracting.
Aegisthus (Jonathan Haugen) effectively presents the roots of the curse on the house of Atreus and makes a strong justification for the bloody acts. However, the character as a powerful figure is diminished by his physical appearance. His hair style seems quite contemporary, and he is costumed in a blue and green "muumuu" that seems to clash with a previously established royal theme of crimson and gold. Anita Yavich's costumes, otherwise, are richly varied in color and texture. The armor, helmets, and weapons are elaborately detailed and interesting.
The Oresteia is a foundation not only of western drama, but of a system of justice that is unparalleled. Berkeley Repertory has made a bold, ambitious, and artistically challenging first-step that obviously promises a bright future.
Part I, Agamemnon, will rotate nightly with Part II, The Libation Bearers and The Eumenides at 2015 Addison St., Berkeley, CA 94704 through May 6, 2001. Ticket info. (510) 647-2949 or www.berkeleyrep.org
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