Iphigenia in Aulis OFF-BROADWAY REVIEWS

Photo: Sara Krulwich
  • NY TIMES

  • Opening Night:
    September 10, 2015
    Closing:
    September 27, 2015

    Theater: Classic Stage Comp. / 136 East 13th Street, New York, NY, 10003

    Synopsis: 

    As part of CSC’s inaugural Greek Festival, playwright Anne Washburn (Mr. Burns, a post-electric play) and director Rachel Chavkin (Natasha, Pierre & the Great Comet of 1812) team up in this dynamic imagining of Euripides’ rarely-seen final play. Featuring new music by Indie Rock duo The Bengsons and choreography by Sonya Tayeh (“So You Think You Can Dance”), this electric rendering of an ancient story returns us to a world where a father is challenged to sacrifice his daughter to appease the gods.

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  • NEW YORK TIMES REVIEW OF Iphigenia in Aulis

    A Modern Makeover for ‘Iphigenia in Aulis’

    Ben Brantley

    September 17, 2015: Enter flouncing, the ladies of the chorus. They are wearing flower-festooned headgear that Carmen Miranda might have thought appropriate for an Easter parade, with festive smiles to match. Granting that a few of these women are men in skirts, they otherwise would have fit right into a Broadway musical frolic of the 1930s, harmonizing and hoofing cheerfully behind a star like Ethel Merman. Of course it’s unlikely that any of Ms. Merman’s supporting cast members would have sung to her about how doomed, flawed and unhappy she was. Had they tried it, you can imagine that forceful star bellowing, “Ix-nay on the gloom, kids!” But for folks like Agamemnon, Clytemnestra and Achilles, a pessimistic, philosophizing chorus is one of those heavy burdens that ill-fated ancient Greeks, or at least the thespians who play them, have to live with. And this chorus is sure more fun to have around than the usual monotonously chanting sackcloth-and-ashes gang. A spectacularly made-over Greek chorus is the chief asset of this generally less confident version of Euripides’ “Iphigenia in Aulis,” which opened on Thursday night as part of the Classic Stage Company’s Greek Festival. This production comes from two of contemporary theater’s most winningly iconoclastic talents: the playwright Anne Washburn (“Mr. Burns”), who “transadapted” Euripides’ text, and the director Rachel Chavkin (Dave Malloy’s “Preludes” and “Natasha, Pierre and the Great Comet of 1812”).

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