Aeschylus' Oresteia (Tony Harrison Adaptation), the National Theatre

Aeschylus' plays are difficult to stage and even more difficult to watch. The theatrical form had not yet undergone the modernization undertaken by Sophocles (and others whose work has been lost to time). Monologues and the chorus interaction were way too long and slow. Even so, the plot of the Oresteia is so fascinating that we cannot help but pay attention and even enjoy that ancient, archaic and raw poetry, which only reaches us after having a great part of its lyricism and its sound pruned by the translation, no matter how good it is.

Peter Hall's Oresteia at Epidaurus is heroic. It takes a lot of courage to peel off a literary monument like the Orestes trilogy. And he did it using historically faithful methods, such as clean and minimalist scenography, the use of masks and men in female roles. As for the first two, the effect is curious without being essential; the text is so powerful that it works in an empty setting as it would in grandiose settings. As for masks, I wish they were only for the chorus and not the lead actors, but they do lend an aura of antiquity and authenticity that may or may not enhance the understanding of the poetry and drama.

In the case of men playing female roles, I don't get what the advantage might be. It is a crude and primitive resource that in no way improves the performance, besides being a sad reminder of a time when women had no right to step on a stage. Furthermore, it is simply unpleasant to see extraordinary roles, such as Clytemnestra, Cassandra and Athena being played with male voices. It's weird and there is no catharsis.

This Oresteia is good in the sense that it's unique. The few other existing versions that we could compare this one to (especially the 1979 version directed by Bill Hays with a stellar cast) are virtually impossible to find, so this Youtube copy will have to do.

This production shouldn't work at all: It's too authentic and politically incorrect; the actors, even for the female parts, are male and wearing masks. It's too inauthentic and politically correct: The translation uses heavy-handed rhyme (which is philological nonsense, _pace_ Gilbert Murray) and uses "he-god" for "god" and "she-god" for "goddess." And I saw a badly- digitized copy with horrible audio interference.

But somehow the patented Sir Peter Hall magic makes you see why Wagner revered the Oresteia and Swinburne called it the greatest spiritual achievement of man.