September 3, 2011 |
Now is the summer of our discontent. If you'd like a little theatrical relief from all that's ailing America's body politic, Anne Bogart and SITI Company are probably not your ticket. FOR THE RECORD: Tragedian's name: The subheadline in an earlier version of this online article misspelled the name of ancient Greek tragedian Euripides as Euripedes. Their new adaptation of Euripides' "The Trojan Women," which begins previews Thursday at the Getty Villa's outdoor amphitheater, aims to rekindle the original political intent of a play that drives home an unrelentingly dark vision of what war does to victims and victors alike.
February 3, 2011
STAGE In Greek mythology, the half-man, half-beast creatures known as satyrs were the raucous companions of Dionysus, the god of wine and theater. "Satyr Atlas," the latest work in progress from the experimental-theater troupe Poor Dog Group, will befit the legend with a lively performance inspired by ancient drama, imagery and lore and based on text by Euripides. The play features nudity and lewd theatrics and is recommended for adult audiences. Getty Villa, 17985 Pacific Coast Highway, L.A. 8 p.m. Fri., 3 and 8 p.m. Sat. $7. (310)
September 7, 2012 |
Just a few years after writing his antiwar masterpiece, "The Trojan Women," Euripides was even more despondent about the reckless imperialist course of Athenian foreign policy. His response wasn't a louder shriek of lament but a rollicking romantic melodrama - escapist fare, really, but with a radical Euripidean twist. Conceived of during a low point in the long and costly Peloponnesian War, "Helen," a sentimental adventure tale with a biting undercurrent of social criticism, dares to debunk the rationale for the Trojan War by imagining an alternative narrative about the faithless beauty who infamously launched a thousand Greek ships.
December 17, 2002 |
For an actress with dreams of a Tony award, a tragedy from 431 BC might just provide the winning role she's been looking for. "Medea," Euripides' proto-feminist potboiler about a woman who murders her children to exact revenge on her faithless husband, has landed theater's top acting honor for three actresses: Judith Anderson (1948), Zoe Caldwell (1982) and Diana Rigg (1994). And if early indications hold true, a fourth name may soon be added.
May 18, 2012 |
“To mortal man, how great a scourge is love,” is one of countless ingenious lines that adorn “The Children” at the Theatre @ Boston Court. Michael Elyanow's stunning riff on the Medea myth rips Euripides into current-day context, and rams its meanings into our brainpans. Beginning before a Stygian drape that masks designer François-Pierre Couture's jagged-wood set, an aptly named Man-In-Slacks and Woman-In-Sundress (Sonny Valicenti and Paige Lindsey White, both beyond praise)
July 23, 1986 |
Some of us may recall Medea as that madwoman of Corinth. Some of us may know next to nothing about Euripides' psychological tragedy of a passionate woman's love revenged. Those in either camp who see Reza Abdoh's radicalized, ritualistic version at the Hollywood Recreation Center will know they haven't seen anything quite like this before. A few might wonder where it came from. Imps and purists will say Mars, but they would be missing the essential ingredient here.