The tragedy of “Elektra” echoes through the American Conservatory Theater this month, as Sophocles’ bloody tale of vengeance in the aftermath of the Trojan War once again casts its mesmerizing spell.
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“How can you honor the dead if you have no faith?” demands Isaac, the gay, born-again-Jewish son of an architect, Michael.Insists Michael, “I know how to encapsulate grief!”Workaholic Dad, famous for building memorials, has left his heritage so far behind that he never circumcised his son, much to Isaac’s everlasting chagrin.
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When the American Conservatory Theater curtain rises to reveal the slightly angled set — a dimly lit, cavernous room, so dingy you can almost smell the mildew; an imposing staircase leading to unimaginable activities above — you know you’re in vintage Pinterland, that slightly seedy place where human relationships are glimpsed in midstream, unpredictable and ominous.
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“He is the reason I am in the theater,” Carey Perloff says of the late Harold Pinter.Perloff, director of American Conservatory Theater since 1991, is at the helm of her company’s production opening next week of the Nobel laureate writer’s 1964 “The Homecoming,” which won a 1967 Tony Award for Best Play.
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When the lights rise mistily on the darkly glowing set that replicates Jeannette Etheredge’s timeless Tosca Café, it’s clear that this is going to be a richly sensual and nostalgic production.
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“Conjuring a world in which love, betrayal and hope emerge from the shadows and disappear with the clink of a glass” goes the advertising for “The Tosca Project,” an unusual collaboration between the American Conservatory Theater and the San Francisco Ballet.
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American Conservatory Theater Artistic Director Carey Perloff has one answer to two questions about the company’s upcoming 44th season, which was announced today.
The questions are: What is different about the season — running Sept. 16 through July 10, 2011 — and how does the current vitriolic political climate influence her choice of plays?
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In strictly contemporary terms, “Phèdre” is between a rock and a hard place. At the start of Jean Racine’s 1677 tragedy, the title character believes her husband is dead, and she finds herself desperately in love with her stepson.It doesn’t end well, of course. But watching Phèdre meet her fate is a thrilling theatrical experience — especially in the new American Conservatory Theater production, which opened Wednesday.
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