Orestes: A Tragic Romp Keeps the Audience Off Balance
Twyford and Sullivan in Orestes: A Tragic Romp.
Anne Washburn's adaptation of the Euripides tale doesn't worry too much about acting as a literal translation. She's too busy binding the story's trajectories, from the fallout from Orestes' murder of his mother to a hastily-conceived kidnapping and murder plot, into a fast-paced telling that wraps up in an unlikely happy ending. Those familiar with the ancient tale will recognize its core pieces and themes, but the story's sarcastic, abrupt tone is something new.
The offbeat production is guided by Aaron Posner, who has wisely cast Holly Twyford in the role of Electra. As the infamous daughter of Agamemnon, Twyford is a twitchy, sardonic presence, spilling with contempt for her now-slain mother and fiercely protective of Orestes (Jay Sullivan). Lending his artistry to a handful of divergent parts is Chris Genebach, as at home in drag for the role of a pale, haughty Helen of Troy as he is the noble Pylades (whose devotion to Orestes has a Sam-to-Frodo kind of feel to it).
No Greek tragedy is complete without its chorus, and the one assembled here is a dynamic force. Marissa Molnar, Margo Seibert, Rebecca Hart, Lauren Culpepper and Rachel Zampelli often speak in unison, yet with harmonic contrast between their voices. Their lithe movements and clanging, belted incantations help keep the story pulsing.
Orestes's secret lies in its ability to zip its audience along, often to unexpected places. We're unsurprisingly moved by Electra's woeful recounting of her father's betrayal, yet can be thrown off base in a moment by her sarcastic asides. Before long, we're swept up into an almost asinine escape plot that just might work ... and suddenly, Apollo shows up, and everything's coming up roses for our tragic trio. If you don't mind a few curveballs, you're ready to settle in for Orestes.
Orestes: A Tragic Romp runs through March 7 at Folger Theater. Tickets are available online.