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Michael Cox reviews an ambitious production that starts strong but 'concludes in a disappointing pop'.
There is a great deal to be impressed by with This Restless House: Zinnie Harris’s re-imagining of the Oresteia trilogy. The direction is sharp and the design imaginative, and it contains performances that are electrifying. And yet as a full theatrical experience it is frustrating.
Told in three parts (over two productions), Restless charts the cycle of revenge that starts with the sacrifice of an innocent girl, an act which leads to death and ruin for many. Harris has addressed the issues of misogyny that pepper the original trilogy by focusing on the female characters, including the choice of putting the role of Electra into the main action of the second half (rather than her brother).
Agamemnon’s Return (****), the first part, is far and away the most successful of the three. Harris’s interpretation of Aeschylus’s play is close enough to the original to be recognisable while offering many new twists and ideas. The language is colourful, and director Dominic Hill’s ensemble turn in powerful performances all round, performances that end in a shattering conclusion that is exhilarating.
Shame then that the second part is a pale comparison.
The Bough Breaks (***) is heavy on the foreboding—the end scene is inevitable, even if the characters aren’t willing to recognise it (as with many Greek plays, in fairness)—but light on the crashing grandness found plentiful in the first part. Bough takes its time in the plot but has great moments when it invests in its characters. In fact, it is the character scenes where Bough is strongest, when Harris’s writing is at its best and the cast have the chance to flesh out their characters with meaty moments.
Sadly, the final act, Electra and Her Shadow (**), looses the plot—quite literally. Rather than focusing on the aftermath of Bough, audiences are introduced to a new set of characters in a psychiatric ward, characters who are ridiculously out of place and only hinder any tension that had been building through the first two parts. After a rousing opening, Electra becomes a glorified cameo in what should be her story. The final ten minutes is better and manages to tie all three parts together, but unfortunately the bitter pill has been swallowed and the final act melts into a muddled fizzle.
However, the performances are good enough to forgive the second-half problems. George Anton is a powerful presence throughout as Agamemnon, and Olivia Morgan is very good as Electra, as are the rest of the company in a series of characters found throughout the production—each actor has at least one bright moment to shine, and as in most of Hill’s productions the ensemble work is stellar.
But the real standout is a glorious performance by Pauline Knowles. Her Clytemnestra is a tremendous force throughout, dominating whenever she is on stage. Her excellent portrayal is reason enough to see both parts (rather than just the superior first part): watching her character arch go from a pathetic drunk to scheming Machiavellian powerbroker to avenging force is thrilling in and of itself.
It is indeed a shame that This Restless House doesn’t have as much pay off as it should. It has so much going for it, but while it starts with a terrific boom it concludes in a disappointing pop.
This Restless House performs at the Citizens until May 14, 2016.
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