Written by: Rachel Hopping (@roadtorach)
Where did Hop pop?
Waterloo East Theatre, London
Was it top for Hop?
***
Step away from the commuter bustle of
Waterloo and you’ll find something stirring deep within London’s busy streets. Waterloo
East Theatre is a beautiful,
welcoming and friendly venue, nestled under the arches of Brad Street. Complete
with spiralling stairs, wooden benches, accommodating staff and an eclectic
array of pop blasting through the speakers, it’s the kind of place any new
company can find a cosy temporary home. Coupled with the scent of London damp,
and the chilly January night air, the whitewashed stone walls do well to set
the scene for a production which is, in places, haunting and dynamic.
Upcoming London company Théâtre
Libre set out to create a highly physicalised adaption of the second play of
Aeschylus’ Oresteia: The Libation Bearers. This adaption focuses on the reunion of Electra and Orestes
and follows the emotional anxieties he faces on his journey to murder
Clytemnestra, his mother, and her new lover Ageisthus, to avenge his father,
Agamemnon. Credit must first be given to the
diverse actors of the play whose dedication and intensity are highlights of the
production. Cheska Moon’s Clytemnestra oozes regality and brutality to create a
devastating portrayal, while Lucia Young’s Electra is innocent and frightened,
with unwavering devotion to her brother Orestes, played powerfully by Orestes
Sophekleous.
Unfortunately, House of Atreus is less successful in the deliverance of its
promises. The use of masks serves to frustrate and hinder performance, seeming
inconsistent and irrelevant – with no reference, they appear to serve only to
distort the admirably strong chorus and distinguish them from the mortal
characters of the play. Advertised as ‘highly physical’ the production actually
appears quite static - more reminiscent of traditional Greek Tragedy rather
than a physicalised, innovative new adaption. To the production’s credit, the
second half is a brutal, tension filled experience, exploring mother/child
dynamics with emotion, urgency and anxiety which jars entirely with the
stillness and forced emotions of the first act. Desire and Freudian elements were
heavily played upon, creating a kind of rawness, which ultimately worked in the
productions favour to create a thoughtful innovative piece of theatre, entirely
supported by the confidence and youthful exuberance of the cast.
Considering the challenges Greek Theatre
creates, the piece manages to capture the imagination, and the story is easy to
follow. Language is simple and even beautiful in places, yet the aesthetic
elements ultimately let the production down and do little to support its
emotional dramatic effect – and it is these that are memorable. Despite this,
it’s a new and energetic approach to myth by a dynamic new company, which
should be praised for its expressive intensity.
This production runs until 27 January 2013.
For more information: http://www.waterlooeast.co.uk/house%20of%20atreus.html
@WaterlooEast @theatrelibreaux
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