A tale of a cycle set on repeat in the sharply funny, compelling Iphigenia & the Furies (on Taurian Land)

Virgilia Griffith. Set, costume & props design by Christine Urquhart. Lighting design by Jareth Li. Photo by Dahlia Katz.

 

Saga Collectif, with the support of Obsidian Theatre, presents Ho Ka Kei’s (Jeff Ho’s) sharply funny, compelling, genre-bending adaptation Iphigenia and the Furies (on Taurian Land), directed by Jonathan Seinen, assisted by Jay Northcott, and featuring live sound design by Heidi Chan. The well-worn tale of a cursed family and a cycle of vengeance evolves as reunion turns to betrayal, and the oppressed become the oppressors—running now in the Aki Studio at the Daniels Spectrum.

Once a princess and now a priestess, Iphigenia (daughter of Agamemnon and Clytemnestra, and sister to Elektra, Orestes and Chrysothemis) has been snatched from the jaws of death by sacrifice to serve at the Taurian Temple of Artemis—ironically, where she prepares subjects for human sacrifice. The Chorus (PJ Prudat), a disgruntled sister of the temple, was passed over for promotion in favour of Iphigenia—all because she is nameless.

Meanwhile, Orestes (Thomas Olajide) and his lover Pylades (Augusto Bitter) have arrived on the shores of this land, taking refuge in a cave. Pursued by the Furies since he murdered his mother in vengeance for the murder of his father, Orestes has found a way out of his torment; instructed by Apollo, he seeks a sacred statue, which he must steal from the Taurian Temple of Artemis.

When Orestes and Pylades are captured by the temple guards, Orestes is reunited with his sister Iphigenia—and the three hatch a plan to get the statue and escape back home. Ever watchful, the wary and suspicious Chorus learns of the scheme. How will this cursed, privileged family’s awareness and actions evolve now that they’ve tasted oppression? Can an equitable compromise be reached between the dominant and marginalized?

2 iphigeniastills-photobydahliakatz-featuring augusto bitter - pj prudat - virgilia griffith - thomas olajide
Augusto Bitter, PJ Prudat, Virgilia Griffith & Thomas Olajide. Set, costume & props design by Christine Urquhart. Lighting design by Jareth Li. Photo by Dahlia Katz.

Exceptional storytelling as the ensemble brings this tale to life—featuring a contemporary framing in tone and language, and a POC and Indigenous cast—combining the ancient and the modern, comedy and tragedy, with expert timing, no-holds-barred edge and brutal honesty. Griffith’s Iphigenia is confident, irreverent and circumspect; accepting her ironic fate with razor-sharp humour, Iphigenia feels for the humans she prepares for sacrifice, but begrudgingly accepts it as her lot. Olajide’s gives a cocky, playful and lusty performance as Orestes; tormented and desperate, Orestes is excited and determined to see his mission to its completion. Bitter brings an adorable, endearing sense of sass and pragmatism to Pylades; supportive of his lover Orestes, Pylades isn’t just a side-kick, he’s a true partner. And Prudat’s Chorus is rich with the insight, awareness and poignancy of the outsider in this group of characters; one of the many nameless “savages” in this Taurian land, the Chorus gives us the perspective of the marginalized—and how the story plays out again and again.

Iphigenia and the Furies (on Taurian Land) continues at the Aki Studio until January 20; get advance tickets online and go see this.

Outrage, love & brotherhood – The Normal Heart

Finally got out to see Studio 180 Theatre’s remount of  The Normal Heart at Buddies in Bad Times Theatre last night – and I was especially happy to be there as I’d missed last year’s run. Written by Larry Kramer and directed for Studio 180 by Joel Greenberg – remounted from its 2011 season in this year’s 10th anniversary this season – the play’s title was inspired by a phrase from W.H. Auden’s poem “September 1, 1939.”

Set in New York City and spanning a time period from July 1981 to May 1984, The Normal Heart follows the struggles of real people – friends and colleagues renamed by Kramer for the play – in the early days of the war against AIDS. Writer Ben Weeks (John Bourgeois) is called to arms by Dr. Emma Brookner (Sarah Orenstein), and assembles a group of gay men in the fight against an unknown virus that is starting to take quick and deadly hold in their community. Joined by friends Bruce (Martin Happer), Mickey (Ryan Kelly), Felix (Jeff Miller), newcomer Tommy (Jonathan Seinen) and even his homophobic but supportive brother Ned (Jonathan Wilson), Ben wages war not only against the virus, but against apathy in both government and the community. And the fight turns inward on the group when it becomes apparent that communication styles don’t match, with out and proud Ben taking a more aggressive, uncompromising – and, for some, alarmist – approach, while closeted Bruce plays good cop, and aims to play nice and compromise.

It is that debate over how to best deliver their vital message to the gay community that makes this play especially interesting. Ben is accused of driving the community back into the closet and a position of shame when he urges gay men, at Brookner’s insistence, to stop having sex as a means of stemming the illness. For some, the precious sexual freedom gained in the previous decade is at stake. And it is this argument that provokes the question: Is having sex with men the defining attribute of gay culture? The group struggles with community apathy as the doctor gropes in the dark for answers to a question that no one else seems to care about. Internal battles – both personal and communal – ensue. Closeted vs. out. “Promiscuous” vs. “virginal” – which both sides put foward as a means to find love. And Ben and his brother Ned have their own battle over tolerance vs. acceptance. Ben believes that gays are the same as straights and refuses to allow sex to be the defining trait of his community – but his friends fear an attack on their culture as gay men if their sexual freedom is compromised.

The action unfolds on a square tile floor playing area (designed by John Thompson, who also did costumes) , with audience on all sides, and with minimal props and furniture to evoke place. And scene changes on the set are accompanied by throbbing 80s disco music (sound design by Verne Good), with the ensemble executing the change-overs – the flavour of their action in keeping with the tone of the scene.

This is an outstanding cast – which also includes Mark Crawford and Mark McGrinder, both in multiple roles – inhabiting characters with life and death stakes against an unseen enemy. Bourgeois is passionate and forceful as Ben, a man so much in his head he’s neglected his heart, his fragility showing in his love of his brother and his efforts to connect. Orenstein is a powerhouse, taking names, kicking ass and accepting no excuses as Brookner, wheelchair-bound by polio. Like Ben, she is overworked, overwhelmed and fed-up with political bullshit they have to navigate, but refuses to stop fighting. Lovely work from Kelly as Mickey, who finds himself wading through hell – his normally upbeat personality pummeled and broken. As Felix, Miller gives us a heartbreaking portrait of a vital, handsome gay man dealing with the ravages of disease. And Seinen’s Southern boy Tommy, the youngster of the group, is as adorable as he is chivalrous – a supportive friend and comrade in this war.

The Normal Heart continues at Buddies until November 18. Go see this.