mordicai caeli (mordicai) wrote,
mordicai caeli
mordicai

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last night i went to see iphigenia 2.0 by charles mee at the signature theater. onatopofthings has come into town for his birthday, so he got tickets for the event based on his mild obsession with captain admiral janeway. before we went over to the venue, we got some drinks & dinner at a sports bar called the irish rogue. i had pretty good bangers & mash; i don't know how jenny liked her hot wings, but the beer selection was pretty generic. the theater itself was pretty nice; i liked the "unfinished" set design look-- in fact the "chorus clown" was painting it as we sat down. the show itself was a zig-zag; at first, during agamemnon's (tom nelis) monologue, i thought the timeless nature of greek storytelling was going to be used to let the audience slot in their own degree of topical interpretation, but when menelaus (rocco sisto) had his big pep talk, that kind of fell away to the other end of the spectrum, as things got a bit preachy. menelaus was probably the weakest character, due to that slotting of politics. clytemnestra (kate mulgrew) was predictably over-acted, which at times worked, & at others, distracted-- when she was the kind of gross hamptons mom, it was great, but then at a few points it worked its way into histrionics, which i think kind of undercut the desperation that should have been there. achilles (seth numrich) was under-used in the script; the kind of doubting youngster? where did that come from? maybe somewhere, but it wasn't my favorite. plus, i really thought they were going to go with the "uh, marry her? but...i like dudes?" achilles, which would have been my choice. iphigenia (louisa krause) herself really only had one bit, her impassioned speech, which was fine, but as jenny pointed out, i'm pretty over feminine-bravery-as-martyrdom. the real stars of the show (as i said to one of them as they were walking next to us) were the background characters: the soldiers (j.d. goldblatt, willfowler, jimonn cole, jesse hoker) & the bridesmaids (emily kinney & chasten harmon). the soldiers displayed affability & menace alternatingly at the drop of a hat, as well as the strange frenzy of all-male groups; the girls went from giggles to horror just as easily, as well doing interesting things with the sexual attraction dynamic. oh, also, did i mention that the play was interspersed with dance numbers? that happened. afterwords we went our seperate ways, to store our strength for this evening.
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