Tony Harrison’s Oresteia

The Oresteia (Tony Harrison), BFI, 23 June 2012

This was a showing of the television recording of Tony Harrison’s famous Oresteia, directed by Peter Hall for the National Theatre in 1981, with music by Harrison Birtwistle. It was broadcast in its entirety on Channel 4 (UK) one Sunday evening in 1983. Take a moment to imagine that. My comments are interspersed with the recording as available on YouTube.

 

Agamemnon part 1

 

Agamemnon part 2

 

The Chorus’s masks are essentially identical, so at once the sense of collectivity predominates over individual psychology. One exception to the effacement of the individual is apparent to the modern viewer, as Tony Robinson’s Baldrick voice occasionally marks his lines out from the Chorus. Throughout the trilogy, in the close ups, it is clear that the actors’ lip movements behind the masks were rarely synchronised with the soundtrack. The film was assembled from three different performances, and it would seem that they kept a single soundtrack and matched the visuals separately. This was no distraction; I found that the Chorus members’ gesticulations, and the different angles of viewing the masks gave a surprising variety of expression in such static pieces. The camera also very effectively responded to Harrison Birtwistle’s score, often cutting to the rhythm.

Philip Donaghy’s Clytemnestra was certainly the most thrilling part: her scene with Agamemnon is a particularly gripping portrayal of shifting power dynamics. She is, of course, the only character to appear across all three plays, and in the first two is accompanied by a sinister leitmotif when she appears at the palace doors: when I noticed the repetition of this in Choephori, I was pathetically delighted. Although Donaghy’s voice was hardly feminine, he found a way to present Clytemnestra that I found totally convincing; at other times, however, the all-male cast’s playing of female characters could be incongruous. John Normington as Cassandra, though, hissed the traumatised and mantic words otototoi popoi da to great effect.

One thing that struck me particularly, especially after the previous week’s Agamemnon at the BFI (see below), was the Chorus’s uncertainty after Agamemnon’s death: this did not appear funny at all here. Harrison’s rhyming couplets gave the scene a pace which spoke of confusion, disarray, and perhaps impotent paralysis in the face of intimidation. And then Clytemnestra appears at the door once more with the bodies of Agamemnon and Cassandra.

 

Choephori

At the BFI presentation, there were two short intervals to separate the plays, and I’m not sure what has happened to my memory of the second play: perhaps because the first half of it is so static — a lot of talk between Orestes, Electra and the Chorus — it is easily overpowered by the other two.

 

Eumenides

So, the Eumenides: the Erinyes themselves surprised me: they were not at all horrifying, but immaculately white-faced, red-haired, black-clad punks. There was something quite attractive about them, with their hairy, blokeish legs. For the only time in the whole trilogy, did the male cast slip into what could be regarded as parodic female voices, when they chanted ‘Night! Night! Mother Night!’

At the temple of Athena (doubling as the Areopagus, site of the concluding court scene), there was both Athena’s statue, and then Athena herself. Her statue was huge and geometric, and Athena’s own costume designed along the same lines. The strange female-male position of Athena was signalled by the combination of her warrior’s garb and the stylised indication of breasts on her breastplate, like a Dalek.

There were a few chuckles in the NFT audience when the Erinyes began to accept Athena’s terms for peaceful incorporation into Athenian life: ‘What kind of shrine did you say I’d possess?’ It underscores the difficulty of presenting the conversion from pure spirits of vengeance to kindly, yet malevolent protectors of the city-state. Harrison and Hall’s conclusion redeemed any doubts. Athena’s processional escort covered the Erinyes’ fish-net outfits with noble red robes, and then turned to the National Theatre’s 1980s audience, telling them, ‘Stand and be silent while the Kind Ones pass’, before they made their way up the aisle. Sitting a little further away in space and time (from the NT in 1981 to the NFT in 2012), this was appropriately moving, especially after more than four hours in dark auditorium.

 

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