Twyford and Sullivan in Orestes: A Tragic Romp.

When talking Greek tragedy, the first description to come to mind usually isn’t “zany.” But Folger Theater’s production of Orestes: A Tragic Romp manages to blend unexpected humor and melodrama into a bizarrely innovative package.

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).