Modern Productions of Euripides' Trojan Women
by Brendan Kennelly (1993)
The production aims at an ensemble style, in which most of the eleven performers are continuously involved. Fionnuala Murphy has to deliver most of her part as Cassandra from on top of the piano, and her flat delivery suggested understandable anxiety about either falling off or setting fire to her bridal veil with her candelabra. Pauline McLynn's Andromache says farewell to Astyanax as if he were going away to boarding-school rather than to be thrown to his death from the walls of Troy. Ali White is an appropriately sexy and self-possessed Helen, Martin Murphy (who studied Greek at Trinity College) a stolid Talthybius. Tina Kellegher as the Chorus does most of the singing, helped out by the other women. Instrumental accompaniment is provided by Helene Montague's regal Pallas Athena, who remains on-stage to play the piano, and Carole Nelson, who wanders around in black tail-coat and dark glasses playing the saxophone.
College Production 1999
This particular production of Euripides' classic tragedy, guest-directed by the Suzuki-trained actor James Bond (yup... his risky projects generally shake and stir), is a collaboration in the purest sense. The actors, along with the set, lighting and sound designers, use the text of The Trojan Women as a springboard for the more personal expressions of distant memory, womanhood, childhood and sex. The "final" product (a collaboration such as this, during which the nature of rehearsal may change from one night to the next, will always, in one way or another, play like a work in progress) is a feverish 75-minute poem of dance, text and color-a gutsy experiment, especially for a Williams audience. (from review by John Magary)
Trojan Women: A Love Story by Charles Mee (1996)
David Stuttart's Production 2002
Stuttard's adaptation, apparently written after the attacks on the US last autumn, harps a little too insistently on possible parallels, with its descriptions of a devastated Troy with its "towers exploding in a holocaust of flame". It would be smarter to let audiences make their own connections. (from Lyn Gardner's review)
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