This evening (Monday 8 June) Rupert Goold, Ivo Van Hove and Deborah Warner are in conversation to mark the launch of their Almeida Greeks season. As three of the world’s leading directors of classical work, Rupert, Ivo and Deborah will explore why these texts remain central to the ongoing practice of theatre makers, audiences and the wider theatrical ecology. In other words, Why Greeks Matter.
Oberon Books will publish all three of the Almeida Greek season plays: Oresteia, Medea, and Bakkhai. These add to our growing collection of classic and new interpretations and translations of Greek plays, including the recent acclaimed Barbican production of Antigone, and the radical new Iphigenia in Splott.
Medea’s marriage is breaking up. And so is everything else. Testing the limits of revenge and liberty, Euripides’ seminal play cuts to the heart of gender politics and asks what it means to be a woman and a wife.
One of world drama’s most infamous characters is brought to controversial new life by award-winning feminist writer Rachel Cusk and Almeida Artistic Director Rupert Goold.
Pentheus has banned the wild, ritualistic worship of the god Dionysos. A stranger arrives to persuade him to change his mind. Euripides’ electrifying tragedy is a struggle to the death between freedom and restraint, the rational and the irrational, man and god. Using three actors and a chorus, James Macdonald returns to the Almeida to stage Euripides’ hedonistic tragedy in a visceral new version by Anne Carson. Ben Whishaw makes his Almeida debut as Dionysos.
Orestes’ parents are at war. A family drama spanning several decades, a huge, moving, bloody saga, Aeschylus’ greatest and final play asks whether justice can ever be done – and continues to resonate more than two millennia after it was written.
Following Mr Burns and 1984, Almeida Associate Director Robert Icke radically reimagines Oresteia for the modern stage, in its first major London production in more than a decade. Lia Williams returns to the Almeida as Klytemnestra.