Renaissance Theaterworks continues to push the boundaries of Milwaukee theater. Here, the company resurrects the oldest surviving play in Western literature, The Persians. The play recently was adapted by noted playwright/actor Ellen McLaughlin. Her prize-winning works have been produced at regional theaters throughout the U.S. However, she is perhaps best-known for originating the part of the Angel in Tony Kushner's play, Angels in America. Given her familiarity with the theater, it is no wonder that she tries to wring every dramatic moment from this ancient Greek play. At times, she is successful.
The plot of The Persians revolves around a single event -- the crushing defeat of the Persian army as it attempts to invade far-away Athens. One of the battle's few survivors arrives in the Persian court to tell the sad tale. He recounts the bloody details of the battle as the amazed Persians listen in disbelief. Despite the news having been foretold by the Persian queen's prophetic dream, the Persian court is still stunned to hear that their great army has fallen. It is a crushing blow from which, they fear, the civilization will never recover.
This production, directed by Angela Iannone, is more to be appreciated than enjoyed. The acting is highly stylized, and this lessens the emotional impact on the audience. However, at times the story is mesmerizing. One strong moment occurs when the Persian Queen strides out of her palace to recount her prophetic dream. She is clearly upset at its forbidding contents. Marti Gobel brings a regal elegance to the Queen.
Equally effective is a Persian messenger's (Nicholas Harazin) appearance. Speaking in a weakened voice, he tells the story of how the Persians were out-strategized by the Greeks. The canny Greeks, vastly outnumbered, used geography and natural elements to outwit the Persians. Since the play takes place in ancient times, the Persians believe their misfortune is caused by the gods' disfavor. They discuss strategies for reversing this situation. Their musing is interrupted by the sudden appearance of Xerxes, the young king who orchestrated the invasion. He is broken in body and spirit. Although Xerxes is comforted by his mother, the Queen's body language reveals that she knows all too well what will happen now that her brazenly ambitious son has returned. A price must be paid to assuage the gods. Near the end of the play she retreats, silently and somberly, into her palace.
The Persians is indeed a sad tale, and its impact is not lost on contemporary audiences. As one character notes, "Greed will render you monstrous, and then bereft."
In addition to Gobel's majestic and touching performance as the Queen, and Harazin's compelling appearance as the messenger, other performances must be mentioned. They include Jeffrey Baumgartner, in a brief appearance as the late king, and Travis A. Knight as Xerxes, his son. The play's staging is noteworthy as well. Audience members flank either side of the set, perhaps imitating the atmosphere of the Greek coliseum.
The beautifully designed set comprises tall "stone" columns, ramps and staircases. The set becomes even more impressive thanks to the excellent illumination by Jason Fassl. The well-designed costumes are easily observed by the nearby audience. They further evoke the play's ancient Greek theme.
