Aeschylus

Pat Barker dives into the first part of Aeschylus’ Oresteia

Emily Wilson, the distinguished translator of Homer, has remarked that Pat Barker’s The Silence of the Girls about the Trojan War is a distinctly feminist book. Renowned for her first world war Regeneration trilogy, Barker has now written The Voyage Home, a powerful novel about the first part of Aeschylus’ Oresteia. She takes the infrastructure of legend and invests it with brutal realism. Agamemnon’s return home to Mycenae after ten years of war is told entirely from the points of view of women. The narrator is Ritsa, Cassandra’s maid, her intimate “catch-fart.” (There is no reticence throughout about the use of crude colloquialisms.) Agamemnon the victor becomes the victim.

Barker

Robert Icke’s smart pairing

On a Saturday in August, stuck in Manhattan  and growing less enamored of the thought, I holed up at the Park Avenue Armory to catch English director Robert Icke’s Hamlet (2015) and Oresteia (2017), playing in repertory. Icke is a darling young thing on the British theater scene, “acclaimed,” as the program informs us, “for his intelligent and accessible productions” of classic texts. Hamlet runs for three hours and forty minutes, Oresteia for three fifteen, which gives you some idea of what is meant (or not) by “accessible.” These are big, bold productions. But for what it’s worth, the cavernous Wade Thompson Drill Hall proved accessible to a packed crowd.

hamlet