Tag: Miguel Nunez
Halcyon’s updated Greek tragedy’s as disjointed as its title
|Halcyon Theatre presents|
|Iphigenia Crash Land Falls on the Neon Shell|
|that Was Once Her Heart (a rave fable)|
|Written by Caridad Svich
Directed by Tony Adams
at Greenhouse Theater Center, 2257 N. Lincoln (map)
thru March 27 | tickets: $18-$20 | more info
Reviewed by Barry Eitel
Modern playwrights know you can get a lot of mileage from shaking up the Greek classics. The themes thought up by Euripides, Aeschylus, and Sophocles are vibrant and the stakes are feverish. The drama is easy to understand; lives are on the line. Because of their conceptual enormity, they are easily tinkered with. Euripedes’ Iphigenia in Aulis is one such classic, with a plot boiling down to a king sacrificing his daughter for good luck on the battlefield.
In our day, the ever-inventive Charles Mee and the ever-misanthropic Neil LaBute have all taken swings at Iphigenia. Caridad Svich’s 2004 technology-infused Iphigenia Crash Land Falls on the Neon Shell That Was Once Her Heart (a rave fable) is as disjointed as its title. Svich smashes together 21st Century political discourse, the club scene, and the horrendous violence committed by numerous Latin American dictators with the myth. There’s a lot to swallow. Agamemnon is a despot, Orestes is a crack-addicted baby, and Achilles is a sexually-ambiguous raver. Halcyon’s production, directed by artistic director Tony Adams, stumbles over the script’s weaknesses and the cast fails to fully embrace the material.
General Adolpho (Arch Harmon) is Svich’s envisioning of Agamemnon, but he isn’t planning to invade Troy. Instead, he seeks reelection, which may be hard considering his terrible human rights record. In order to get the people on his side, he hatches a plan to kill his daughter Iphigenia (Christine Lin) for sympathy points (although it’s never made clear why he doesn’t just rig the election—seemingly small potatoes for most dictators). Iphigenia flees to the outskirts of town, meeting several of her father’s victims on the way (including three female ghosts played by men). She also comes across Achilles (Adam Dodds), who always has chemicals in his bloodstream and melancholy in his mind. But, like in all the Classics, Iphigenia learns you just can’t beat fate.
Even though I’m no ecstasy expert, Halcyon’s production feels false. The ever-looping electronica (composed by Zebulun Barnow) never reaches the decibels needed. I wanted to feel the bass (although that would probably disrupt Infamous Commonwealth’s A Doll’s House going on down the hall). Svich’s dialogue seems to be penned by an outsider to the scene, especially in these actors’ mouths. The slang feels awkward and the cast seems uncomfortable (especially the drag queens in their heels). Most importantly, Lin and Dodds don’t reach the epic highs needed for Greek drama. Even though Svich’s scenes pull from a huge wardrobe of influences, she relies heavily on Euripedes’ sense of tragedy. Halcyon is unable to grab hold of that level of hubris.
To their credit, Adams and video designer Rasean Davonte Thomas Johnson do a mostly fantastic job with integrating stage action and video. Steph Charaska’s set and Pete Dully’s lights make the world jump to life. And the cast captures Svich’s dark sense of humor, especially Rafael Franco, Derrick York, and Arvin Jalandoon as the ghosts. The run time is a little over an hour with no intermission, but the play has a kernel of the epic style of Homer. We watch a journey unfold on-stage, with lots of characters, motivations, and points of view.
In the end, the production takes itself too seriously. There are a lot of moments that feel as melodramatic as the angst-ridden tunes that fuel the play. In a bout of meta-theatricality, Iphigenia brings up the burden of playing a character bound by a plot, a very intriguing idea. But like most of the ideas in this Iphigenia, it’s tossed on a heap with all the others. Almost as if we participated in a bender, the audience leaves bewildered and confused.
Cast: Adam Dodds (achilles), Rafael Franco (fresa girl 1), Arch Harmon (adolpho/general’s ass, soldier x), Erica Cruz Hernández (violeta imperial/hermaphrodite prince), Arvin Jalandoon (fresa girl 3), Christine Lin (iphigenia), Terri Lopez (camila), Miguel Nuñez (virtual mc), Derrick York (orestes/news anchor/virgin puta/fresa girl 2)
Production: Tony Adams (director), Steph Charaska (scenic design), Rasean Davonte Thomas Johnson (video design), Annie Hu (animation design), Kate Setzer Kamphausen (costume design), Pete Dully (lighting design), Zebulun Barnow (sound design and music), Lee Strausberg (props design), Morgan Gire (stage manager), Tom McGrath (photography)