Monday, 18 January 2016


A review of Sarah Kitz’s “Agamemnon”

I decided to impress the missus the other night by taking her out to the theatre, opting for something "a bit classical" – a modern retelling of Aeschylus’ Oresteia, reworked for a modern Canadian setting by Nicolas Billon, a playwright previously honoured with the Governor General's Award for English-language Drama.

What could possibly go wrong? Quite a lot actually as I hadn’t done my homework.

The play was directed by one (((Sarah Kitz))) and should have been accompanied with trigger warnings throughout. In the program (((Kitz))) writes:
"The story before this one is Iphigenia's sacrifice. A young female life is offered as a symbol to appease the gods, to achieve a wind to sail armies to Troy, to sack Troy and punish/retrieve Helen (how dare a woman leave her husband and follow her own desire?)."
On the contrary (((Ms. Kitz))), how dare you rewrite Western historiography to fit in with your modernist feminist agenda!

I was prepared to give some leeway for modernizing artistic license, but what we witnessed was utter schlock and debasement. Right away épater les bourgeois was in full cry, with a rebelliously cynical cookie cutter teenage Chrysothemis spouting, "Fuck this! Fuck that! Cunt! etc."

OK, fine. I get it. The language was meant to shock and prepare us for the sitcom tone of the piece that was to follow, but I had already begun to regret paying for this.

For Nietzsche, Aeschylus represented the high point of Western tragedy, in which the Dionysian forces were brought under the sway of the Apollonian order. But in this revolting revision, the Dionysian force was represented in unbridled 'comic' form as a queer with a strap-on dildo in the role of Aegisthus.

Taking an ax to Western culture.
Adding insult to injury, the important roles of Halaesus and Agamemnon were doled out to black actors "because diversity." That the vital warrior aspect of Western Civilization embodied in these roles, had been bequeathed to Africans was no mere accident, but an act with an insidious and malevolent intent.

Despite their Black father, Agamemnon's daughters were not mulattoes, something we were, of course, not supposed to notice or comment on, because race is supposed to be invisible for White people, if for nobody else.

The play showed both Clytemnestra and her daughter Chrysothemis fawning over the black males, something else we were supposed to signal our tolerance with, by remaining blithely oblivious of, at least outwardly.

Chrysothemis, after straddling Halaesus upon sight, invites him into her room to "fuck her mouth" no less. Wow, just Wow! as our opponents would say in a similar state of outrage. Later in the show, Agamemnon "Africanus" proceeded to give the audience a strip show, so that we could gawk at the displacement of the white male by the black man. Thanks again (((Sarah)))!

The jokes were cheap, the script shabby, the acting pitiful, but the insults to Western man plentiful and cutting. Thanks be to Zeus this was the final show of the play's run – although "run" seems an inappropriate word to describe something that left such a trail of degenerate slime in its wake.


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