If the ancient Greek playwright Aeschylus had gone on tour with Led Zeppelin, Woody Guthrie and a carnie troupe, this is what he would have written. A tale of blood, guts and vengeance, Aeschylus' Oresteia recharged. Rowdy, raucous, loud and literate.
Keegan Theatre, DC, 2009
Capital Fringe Festival, DC 2008, co-production with Spooky Action Theatre
both directed by Debra Buonaccorsi
The spirit of fringe is rock-and-roll, so it's fitting that one of the most sizzling acts thus far in the third Capital Fringe Festival is an hour-long ramble through Greek tragedy set to amplified music... nothing came close to the energy, imagination and discipline of this carnival-style rock show.
https://www.washingtonpost.com/wp-dyn/content/article/2008/07/16/AR2008071602788.html
Could the Revue crew really get through all three of the House of Atreus plays in the advertised 70 minutes? Turns out I’d underestimated the summarizing power of, for instance, the tart shorthand with which a vengeful Elektra, plotting the death of her matricide mother Clytaemnestra, sums up her thoughts about the long-banished brother she hopes will return to deliver the vengeful blow: “I hope he’s not a pussy.”
https://washingtoncitypaper.com/article/338859/hip-shot-dizzy-miss-lizzie/
The story is told through a blend of rock and roll, burlesque, vaudeville, profanity, and beer. Particular styles of rock music were used to define character. As noted above, Athena, a goddess, sang gospel, suggesting that her concerns were not the immediate but rather her concern for Orestes’ salvation aimed at the eternal. The Furies, on the other hand, employed punk, an angry, destructive nihilistic rock, rooted in three chords and fast, angry playing.
"Pop Music Adaptations of Aeschylus' Plays: What Kind of Rock was Prometheus Fastened to?" by Kevin J. Wetmore Jr. from The Reception of Aeschylus' Plays through Shifting Models and Frontiers" by Stratos Constantinidis
Pop Music Adaptation of Aeschylus' Plays (pdf)
DownloadOresteia Script Excerpt, Scene 4 (docx)
Downloadvocals by Laura Keena with Emily Levey, Jennifer Richter and Maria Egler
vocals by Felicia Curry and cast
Debra Buonaccorsi
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