The Oresteia at London’s Bridge Theatre: Keeping Greek Tragedy Relevant
A house sits upon the stage, looming and domestically lit; a spectacle for the audience eagerly awaiting the first act of Simon Stones newest production. The staging, designed by Lizzie Clachan, has evoked somewhat of a buzz in the theatre already, with fans of Aeschylus’ original trilogy itching to experience the narrative they know so well; or so they thought.
The Oresteian trilogy is broken up into three plays; Agamemnon, Libation bearers and Eumenides, also known as the House of Atreus; in this case, Middleton. In the original, Agamemnon has sacrificed his daughter, Iphigenia, to win a battle in the Trojan war, and upon returning home is murdered by his wife, Clytemnestra, to avenge her daughter. She is then subsequently murdered by her son Orestes, instructed to avenge his father by Apollo himself. The story explores generational trauma, and the cyclical nature of bloodshed within civic justice.
Simon Stone morphs the tale into a 2010’s middle class family dynamic, a hustle of overlapping dialogue and humour, amplified by the strained marriage of Christopher (David Morrissey) and Montie (Mary-Louise Parker). They convincingly co-exist within the household, amusingly set in Sevenoaks, Kent; an ironic juxtaposition to the original which is set in ancient Argos, Greece. There is a sibling dynamic between Alice (Rosie Sheehy) and Augie (Tom Glynn-Carney) that is immediately believable to anyone watching. Both actors shine throughout, with Rosie Sheehys comedic talents keeping the first act light-hearted amongst the intricate family politics.
The gargantuan and somewhat realistic house allows an ‘upstairs downstairs’ construct within the context of the modern nuclear family, with the teens frequently taking sanctuary in Augie’s bedroom, where we can peer in through the large windows. We are treated to a staging transition utilising domestic sound, as Augie plays guitar to his sister whilst the stage revolves. The thoughtful conversation accompanied by the guitar foreshadows the end of an era, a somewhat nostalgic feel to the scene. Putting the house on a revolve is a wonderfully executed idea, and behaves almost like a roll of film, seamlessly moving us from one time to another. Act one ends with a dramatic reveal, and leads to the realisation of a non-linear narrative – a moment which felt electric to witness unfold.
Act two is an immersive exploration of civic duty against familial loyalty, and the trauma that comes with it. Mary-Louise Parker as Montie is the modern-day Clytemnestra, her performance energetic, weaving satire through her villainous treachery, yet falling short at points. Simon Stone did not quite transition Clytemnestra’s character into a complex modern woman; instead, she remained as deranged as Aeschylus’ originally wrote her in 458BCE.
The final act was more fantastic work from Tom Glynn-Carney, accompanied by the talents of David Morrissey. This act was veiled in cold lighting compared to the warm tones of the past, creating a melancholy aura around those on stage as they processed their trauma.
Amid the current revival of interest in Greek mythology courtesy of Christopher Nolan’s blockbuster film, The Odyssey, The Oresteia emerges as a refreshing and accessible adaptation that welcomes even those unfamiliar with the original tragedies. As such, Stone’s production stands confidently on its own as a compelling contemporary play, ensuring the Oresteian trilogy’s legacy lives on.
The Oresteia runs until 19 September, 2026, at The Bridge Theatre, London