Dubya and Dionysos

Lately, I've had Greek drama on the brain.

Tonight I went to see Oliver Stone's film W with an eye on current representations of Iraq and politics in film and theatre. I've seen a number of other shows on the topic: The Vertical Hour and Black Watch come to mind as recent examples on stage. As does Mark Ravenhill's epic cycle of short plays aptly titled Shoot/Get Treasure/Repeat. 

W, which emphasizes the Oedipal instincts behind Bush, Jr.'s rise to power is sort of a modern-day Oedipus story played as a tragicomedy. There are ha-ha moments of recognition, but mostly because Stone hones his actors in on the truths of their characters. Particularly fine - and notable to one who's viewing the film from a theatrical perspective - are sequences that bring Bush back to the empty ball field of the team he once owned. The crowd is gone, and the balls come flying; his reactions are the variable.

The cast of Hare's Stuff Happens at the Public Theater.

I was struck throughout the film by how many similarities there were between Stone's film and David Hare's 2004 play Stuff Happens. Hare's self-described "history play, which happens to centre on very recent history" also seeks to raise the characters to epic proportions. It's interesting to see how many similar behind-closed-doors moments Hare and Stone have chosen to focus on - particularly the scenes in the White House where the cabinet gathers to discuss politics and pray.

Anyway, I recommend both seeing Stone's film W and reading or seeing Hare's Stuff Happens. Together, they create an interesting dialogue about representations of politics in theatre and film.

After the movie, I finished reading Scotsman David Greig's adaptation of Euripides's The Bacchae as well. The adaptation, which was produced in associate with the National Theatre of Scotland starring Alan Cumming, keeps all of the characters and situations but develops a clarity and fluidity of language that more strict verse translations seem to lose along the way. It's not a modern adaptation per se, but it struck me as more irreverently funny than others like it. I recommend taking a look at Greig's script for a fresh take on The Bacchae, which is a fairly quick, fascinating play to discover.

Revisiting the classics via Robert Fagles

While this season's off to a tepid start, I have a worthy suggestion for weary theatergoers in search of a reinvigoration of sorts: why not revisit the classics?

In studying Greek drama for a current class I'm taken, I've been struck by how readable and enjoyable Greek plays can be, and I have a few suggestions for interested readers.

My professor, Roger Oliver, recommended to our class that we read Robert Fagles's translations of both Aeschylus's The Oresteia and Sophocles's The Theban Plays (concerning Oedipus), both published by Penguin Classics, and I found his fluid, poetic versions to be quick, satisfying reads.

To see the plays in action in New York is also currently possible! The Pearl Theatre Company is currently featuring The Oedipus Cycle, Sophocles's Theban Plays performed back-to-back (the running time is 3 hours). 

Upcoming at one of my current favorite theatre companies, Classic Stage Company, is An Oresteia, an amalgam of plays by Aeschylus, Sophocles, and Euripides chronicling the fall of the house of Atreus.

Oedipus is also currently receiving a Ralph Fiennes-led production at London's National Theatre that promises to be one of the hottest tickets across the pond as well.

Say what you will about Greek plays being stodgy and irrelevant, plays like Agamemnon, Antigone, and Oedipus the King hold underestimated riches for modern readers. Sometimes, as in the case of Oedipus, they even continue to pack 'em in thousands of years on.

Season thus far...

So far, so...

Well, it's been an interesting beginning of the season on Broadway this fall.

We've had [title of show], A Tale of Two Cities, Equus, The Seagull, 13, A Man For All Seasons, and To Be Or Not To Be.

So far there have been one standout musical ([tos]), several standout play revivals, and the mediocre 13 and To Be Or Not To Be. Still, we're waiting for that big runaway success, critical or otherwise (last season's August: Osage County). Will it come in the form of Billy Elliot? Shrek the Musical? 9 to 5? The answer remains to be seen.

Along the way, we've gotten several fine performances, including Daniel Radcliffe and Richard Griffiths in Equus; the ladies of The Seagull; and Frank Langella in A Man For All Seasons; but once again, we're still waiting on that knock-em-dead surefire Tony-winning performance that, in the past few seasons has come in the form of Christine Ebersole (Grey Gardens) and Patti LuPone (Gypsy).

I, for one, am excited, particularly following the tepidly titillating To Be Or Not To Be's opening night tonight, for the opening of All My Sons on Thursday. Though many have expressed their doubts surrounding director Simon McBurney's crafty production choices (underscoring, video projections, etc.), I'm a fan of his (shout out to A Disappearing Number at the Barbican in London) and can't wait to see what he's done with Arthur Miller's postwar drama.

Several recent announcements have spiced up the prospects for the post-holidays season.

Roundabout Theatre Company has just announced a January 12 benefit concert reading of Sondheim's A Little Night Music starring Natasha Richardson, Victor Garber, Christine Baranski, Laura Benanti, Marc Kudisch, and Vanessa Redgrave.

And Angela Lansbury has just been announced as Madame Arcati opposite previously announced Christine Ebersole and Rupert Everett in the upcoming Michael Blakemore-directed revival of Noel Coward's Blithe Spirit.