Greek
Theatre
at Warwick

Aeschylus’ Agamemnon

30-31 January 2025

Clytemnestra awaits Agamemnon's homecoming

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There is a chorus of singers that never leaves this house. They sing in unison, but not pleasantly, because they do not tell of good.
The chorus in creepy masks in Aeschylus' Agamemnon at Warwick Arts Centre

Summary

Agamemnon takes place in the aftermath of the Greeks’ invasion of Troy, undertaken to recover Helen and loot the affluent city. The chorus of Argive elders and Agamemnon's wife Clytemnestra are awaiting his return. However, even before Agamemnon has stepped foot in Argos, his homecoming has been tainted by memories of the brutal sacrifice of their daughter, Iphigeneia, for the sake of the invasion, and by the news of the storm that obliterated the Greek fleet on its return.

As we are about to witness Agamemnon's chilling homecoming, the dark energy that has been brewing in the house for generations takes a palpable form.

Performance

Production

Director: Fred Brierley

Producer: Colleen Baxter-Locker | Stage manager: Stella Omotade | Academic Consultant: Dr Emmanuela Bakola

In the role of Clytemnestra: Sommy Chukwuma | Agamemnon: Jed Kain | Cassandra: Gio Presotto | Aegisthus: Matthew Lee


Following 2024's performance of Aeschylus' Persians, the 2025 production of Agamemnon saw the first episode in Aeschylus' Oresteia trilogy by the Department of Classics and Ancient History at the University of Warwick and the Warwick Classics Society. Performed in the theatre of Warwick Arts Centre, the play brings to life the myth and legend of the aftermath of the Trojan War in a gripping performance, accompanied by lectures and talks from scholars of Greek drama.

The production showcases the creativity and collaboration of students and staff in the Department of Classics and Ancient History, bringing together both the ancient drama itself, and modern research into Greek dramatic festivals and theatre. A close reading of the original text gives rise to a plethora of symbolism and fuller understanding of the ancient drama. From fabric to lighting, colour to use of space on-stage, the performance is suited to a modern audience, while bringing ancient elements of drama to the forefront.

The production team would like to thank Avion Technical Services Ltd. for their assistance in lighting and sound, along with alumnae Rhianna Pike in music composition and Hana Lawrie in costume design.

And as I go upon these wine coloured riches of the gods, may no jealous eye strike me from afar! I have great qualms about destroying a house's property underfoot, spoiling rich textiles bought with silver.

Supporting the matinee performance on Friday 31st of January, the Department offered a series of lectures, discussions, and seminars specifically for school students. These talks were designed to complement the Greek, Classical Civilisation, Ancient History, Drama, and English syllabuses at GCSE and A-Level. No prior knowledge of the play or subject area was required, and all were welcome to appreciate and see Agamemnon in its social, historical, and literary contexts.

Symbolism, Sacrifice, and the Textiles in modern productions of Aeschylus’ Agamemnon

Seeing Furies: The Oresteia in Pictures

The historical context of Aeschylus’ Oresteia

Aeschylus’ Agamemnon, the Oresteia and the concept behind the Warwick production

Introduction to Greek theatre and festivals

The rest, I keep silent: a great ox is treading on my tongue—but the house itself, if it formed a voice, would say this; I talk willingly to those who know, and for those who do not know, I choose to forget.

Get in touch

If you would like to reach out to know more about this production, the Warwick Ancient Drama Festival, or the Department of Classics and Ancient History at the University of Warwick, please feel free to contact Dr Emmanuela Bakola at [email protected]

Department of Classics and Ancient History, Humanities Building, University of Warwick, Coventry, CV4 7AL