Oresteia NYC Reviews and Tickets
About the Show
Production Covid-19 Safety ProtocolsShow-Score Member Reviews (139)
See it if You are into Greek myth, political issues.
Don't see it if You cannot handle loooong show.
See it if …you want to see why Robert Icke is getting such acclaim for reimagining 3 foundational works of Western theater into profoundly urgent art.
Don't see it if … you don’t value how dark, probing theatrical tragedies in radically reimagined stagings can actually lift and exhilarate us as witnesses.
See it if You are a lover of modern takes on Greek tragedies. This is an incredible production with superb actors. A true must see; don’t miss it.
Don't see it if Your attention span is short these days. This play is 3 hours and 45 minutes. It’s a commitment.
See it if Brilliant, not perfect but brilliant acting and execution.
Don't see it if It's a bit long. Held my interest.
See it if Ready for an electrifying, totally modern take on a most ancient yet timeless script. Anastasia Hill and Angus Wright are exemplary.
Don't see it if You haven't the patience or physical ability to sit through the play's 3 hours; including intermissions and pauses, it can be tough.
See it if Unique, phenomenal mise-en-scène Robert Icke is a genius Visceral and thought provoking
Don't see it if you need to be in the mood for an intense, quite dark, but brilliant piece!
See it if Enjoy an intense struggle in a challenged family who represents all of us in our troubled world. The writing is amazing and staging too.
Don't see it if It is long 3 and a half hours although it keeps you engaged from start to finish. Tragic stories might be too much for some.
See it if A masterful production of this Greek tragedy comes alive for the New York community. 4 hours went by quickly. Bravo to the entire cast.
Don't see it if If you prefer a musical then skip this one.
Critic Reviews (15)
"Robert Icke’s fraught and gripping 'Oresteia,' an emotionally harrowing retelling of Aeschylus’ trilogy at the Park Avenue Armory, doesn’t get bogged down in such background details of ancient mythology."
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" 'Oresteia' has stripped out most of the references to the gods and their fickle ways. ... Most of the thematic strands that Icke added into this production are so underexplored that they end up muddying the play and undercutting its power and any catharsis."
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"If anyone came to the show hoping to learn about ancient Greece, they surely left unsatisfied. At the same time, the reimagining is too generic to have much to say about our current moment. The only politics I thought about were the politics of a British director changing gods to God and presenting it as a human universal."
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"While people worship at any number of altars, they remain prey to the same dark impulses, for power, for dominance, for vengeance, for blood. This may be seen as either a source of grim solace—thus was it ever. Or merely sorrow—thus will it ever be."
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"I believe Icke is engaged in an honest struggle with theatrical heritage but as a director, his method is to throw everything against the wall—deconstructed text, overwhelming design, metatheatrical devices—to see what sticks. There’s a synthetic impersonality to the whole affair."
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"It's a satisfying cap to a remarkably intelligent new take on the 'Oresteia,' one that will have audiences marveling afresh at the social, political, and historical insights that Aeschylus still has to impart to a new generation."
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It has been a very, very long time -- perhaps never -- since I have seen a production so intimately acquainted with the terrors of the earth as Robert Icke's Oresteia. When first announced, the pairing of Hamlet and Oresteia for Park Avenue Armory's summer season seemed oddly arbitrary. But Icke, who directed both and adapted Aeschylus' text, manages in each case to merge classic tragedy with contemporary political reality to shattering effects. Theatre doesn't come more monumental, or more savage, than this.
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"Director-adapter Icke has done what it’s highly likely many Greek playwrights did during the fifth-century BCE: create their own versions of popular myths for plays long lost and forgotten."
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