soulpepper’s wedding at aulis is impressive but not always compelling

by:Marslite     2019-09-11
Sina Gilani, directed by Alan dearworth, held a wedding in AulisWritten.
Until April 14, at the Youth Performing Arts Center, 50 Tank House Lane. soulpepper. ca or 416-866-
8666 actors and actresses surrounded by an audience
Outside space, play an old story about aggression, moral chaos, revenge and sacrifice.
So close to what is happening, the audience is implicated in the ceremony and forced to witness and work for themselves to see if the character\'s decisions and actions are reasonable and just.
This is an Iranian adaptation.
Canadian poet/actor/playwright Sina Gilani staged the last surviving drama of oripedes on the edge of the Trojan War.
Gilani renamed the show
Traditionally known as igigenia in OLiS
Emphasize the sense of ceremony: we gather together for a disturbing ceremony.
Gilani is a graduate of the Soulpepper College, the first professional stage production of one of his scripts.
The Soulpepper Theater is admirable to support itself in this way, and is evidence that director Alan Dilworth continues to be interested in the new version of the Greek Classics, after his recent performances at idomenis and oladix.
The audience is also interested: the production of the audience capacity limited to 64 people has been completely sold out.
The situation is that the Greek fleet headed by agamennon (Stuart Hughes)
The flight was suspended at the port of oriis, because the goddess, areis, had calmed down the wind and could not continue Troy.
Before the start of the play, agamennon had approached his wife, clatmestra (Raquel Duffy)
Take their daughter, igigenia (Alice Snaden)
In name, she married the hero Achilles (Sebastian Heinz)
But in fact, she sacrificed her to lift the curse and continue the war.
This is a scene of traditional gender performances (warlike men;
Women destined to fail)
But the fascinating option for Europeans is to shake agamennon: the plot starts with the message he sent to clatmestra to get him back --
He chose the life of the child instead of having to fight
But then he changed his mind.
His brother MenelausFrank Cox-O’Connell)
There\'s also a major reversal, and-
In the most emotional evolution of this drama, Duffy is passionate about it --
Clytemnestra moves from pride and love to the ultimate vow of revenge through fear and resistance.
Although her stage time is too limited to allow the audience to enter her inner journey with satisfaction, Snaden, as a playful igigenia, alternately grabs a doll and her
This is a useful story for our time, because it takes a polarized situation and exposes its ambiguity: If today\'s world leaders are as willing to listen as these characters
Neither Gilani nor Dilworth has a positive outlook for contemporary resonance: the \"winged Iron Horse\" background mentioned earlier in the script is \"tall twins are burning\", which seems to be
For reference, igigenia finally decided to sacrifice himself for Greece, compared to the conviction of a suicide bomber, but these are all likely to have an impact. The design —
Very beautiful
Suggest somewhere far away in time and place: the speaking/singing chorus of women covers their bodies and heads with blue and purple textured fabrics;
Men\'s clothing (
Designed by Michelle Tracey, with set)
Including the recognizable touch of the ancient Greek war suit, while stopping not far from togasand-
The practice of sandals.
The lighting of Itai Erdal is direct, but soft, so the space illuminated on the stage looks sparkling on the edge, giving the impression that we are far away and typical.
Three women decide to act by speaking the words of Fate (
Sarah Cherniak, Sarah Wilson)
At some point, even though they were standing in the dark, Erdal somehow brightened their faces, a powerful and otherworldly effect.
The overall feeling is serious and solemn: it is an impressive work, but it is not always immediately eye-catching.
We have a long way to go from the recent dangers of other local Greek updates (
Haogaki\'s iphineja and anger, Gillian Keiley Bakkhai\'s Stratford, and even in a sense, Frey\'s indulgent but fascinating Myth series last summer at Shaw).
Given the settings, this situation has potential explosive power and absurdity (
The whole army was trapped in a place, gnashing teeth for War)
The number of reverts, but the chances of humor or a surge of attacks are mostly excluded from the stage.
While Gilani\'s writing is smooth and mature, the subtlety of the production at this point hinders his convincing ideas.
Nevertheless, the number of talents and resources invested in this production is commendable, which has aroused interest in Gilani\'s next adventure.
Karen Frick is from Toronto.
The star\'s drama critic and freelance contributor.
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