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Epoch Times
12-05-2025
- Entertainment
- Epoch Times
Seeking a Renewed American Mythology
In 1931, the then three-time Pulitzer Prize-winning playwright Eugene O'Neill presented his most ambitious play to date: the epic 'Mourning Becomes Electra.' Comprised of three plays totaling 13 acts, the play seems impossible to produce in full today, given that audiences tend to have short attention spans and a need for instant gratification. But this was less of a concern for a population in the throes of the Depression and without cell phones to keep its interest from waning. Americans who went to the theater in the early 1930s were used to plays of some length, although 'Mourning Becomes Electra' topped them all (indeed, it remained the longest stage play until the 1980s). The scope and subject matter of 'Mourning Becomes Electra' demonstrates its ambition. The play takes place in post-Civil War America, specifically in a mansion on the Eastern seaboard, and tells the story of a returning Civil War hero (Brig. Gen. Ezra Mannon), whose wife, Christine, has been unfaithful to him with sea captain Adam Brant. His loving daughter, Lavinia, confronts her mother and vows to revenge her father's untimely death. Lavinia teams with her brother, Orin, and kills Brant. Christine commits suicide over the grief she has caused. Orin commits suicide for his role in the murder of Brant, and Lavinia retreats to the Mannon mansion to live out her life in seclusion. (L) Cover of Eugene O'Neill's play "Mourning Becomes Electra." (Nick Hern Books) A portrait of Eugene O'Neill (R) from the December 1922 edition of "Theatre Magazine." Internet Archive. Public Domain Borrowing Greek Drama Those with knowledge of ancient Greek tragedy may recognize the plot of 'Mourning Becomes Electra,' as it parallels that of Aeschylus's 'Oresteia.' Also comprised of three plays, the 'Oresteia' depicts the return of Agamemnon from the Trojan War who is murdered by his wife, Clytemnestra, and her lover Aegisthus. Agamemnon's son, Orestes, then murders both Clytemnestra and Aegisthus with the help of his sister, Electra. Ultimately, Orestes is spared punishment (through the intervention of Athena), and the play dramatizes the transition to a legal system of justice from a cruder arrangement typified by vengeance and blood feuds. Frontispiece of "The Oresteia of Aeschylus," 1900. Internet Archive. Public Domain What O'Neill was attempting in 'Mourning Becomes Electra' was the development of an American mythology, based on classical sources. Although 'Electra' is his most thorough treatment of such a mythology, he consistently used classical and biblical imagery to forward this theme. His plays are akin to a fashion designer's collection: the individual pieces may look different, but they are related by a common theme. He did not create a true mythology, however, so much as he demonstrated a parallel between the timelessness and universality of the Greek original and specific, defining points in American history. He presents an ancient Greek source overlaid with an American veneer, although he does interpose some American standards such as the influence of Puritanism, the substitution of modern psychology for the Greek concept of fate and the application of a destiny for Lavinia, not contemplated by Aeschylus for Electra. In working with the Electra myth, O'Neill had two major obstacles: First, the audience's lack of knowledge of the Greek original, which would make the parallel less obvious, and, second, the fact that, at the end of the day, viewers are left with a retelling of an ancient myth and nothing particularly American except time, place, and costume. He does not overcome these obstacles, but his ambition as an artist and the uniqueness of his vision—new to America at the time—compensates for this in part. 'Mourning Becomes Electra,' despite its excessive length, is still good drama. Related Stories 7/16/2023 4/27/2021 A Roman Empire sarcophagus, circa A.D. 100–125, depicting scenes from Aeschylus's "Oresteia." The tragic figure Orestes appears three times on the front of this sarcophagus: In the center he stands over the body of his mother Clytemnestra and center left, he stands over the body of her lover Aegisthus. Cleveland Museum of Art. Public Domain Can We Return to an American Mythology? The question, then, is, can we go one better than O'Neill to create a distinctly American mythology and present it onstage, as the Greeks did, or must we be content with applying American situations and characters to already established myths of an earlier time? Can an American mythology be as timeless and universal as those of the classical era? I believe it can. First, we must understand what 'mythology' is. Generally speaking, mythology is a collection of traditional stories that explain both natural phenomena and the supernatural. More importantly, for O'Neill's purposes, myths also form a cultural identity through the use of gods or heroic figures, meant to maintain these beliefs for future generations. Do we have any such mythology at work in America? To some extent, we do. Our American mythology is replete with tales of heroic historical figures like George Washington, Paul Revere, and Abraham Lincoln, and fictional characters like Paul Bunyan, Huckleberry Finn, and Superman. The tales of the frontier and westward expansion also provide a mythological framework for our nation. And, as is typical of America, our tradition is overly positive and visionary. "Commemoration of Washington," circa 1800-1816, by John James Barralet. Drawing on classical symbolism, Barralet depicted Washington rising from his tomb, assisted by Father Time and Immortality. The helmet, sword, and armor represent Washington's military achievements. The figures of Faith, Hope, and Charity grieve in the background along with an allegorical figure of America with her liberty cap. National Portrait Gallery, Washington. Public Domain In the modern world, though, our upbeat mythology has given way to a disturbing and dark narrative that seeks to dismantle the American myth and replace it with something less heroic and more condemning. As a result, we have a diminished cultural identity, the destruction of our American ideals and institutions, and an explanation of our origin that renders us as irretrievably racist, misogynistic, and devoid of moral clarity. This sad state of affairs is seen in our contemporary art with its emphasis on misery, hopelessness, and redemption by accident, not divine grace. The great irony of this is we have at our disposal a forward-thinking, timeless American mythology—based in history—that serves the cultural purposes mythology is meant to address: our founding. The events of this nation's origin and its philosophical underpinning (as exemplified by the Declaration of Independence) not only explain who we are and why we exist, but define our national identity, unique and unprecedented in the world. What's more, we pass on this story to future generations—or at least we used to. Today's generation seems painfully ignorant of our history, the meaning of our founding, or the characteristics that make America exceptional: individual agency, a belief in a divine set of immutable rights, equal opportunity without regard for conditions of birth (although we certainly have strayed from this in our past), and a hopefulness for life's betterment through freedom. But this is rarely presented in art. It must be again, and playwrights can certainly depict protagonists that embody American ideals. We don't need to write new plays about George Washington; we just need to present everyday people with the values of a George Washington. O'Neill, ever the pessimist, saw the human condition in Greek mythology and generally scoffed at a more positive American response (although he longed to believe in it, as his comedy 'Ah, Wilderness' demonstrates). But he did recognize a timelessness in ancient beliefs that he applied to America. What we need is a competing mythology that is equally timeless and universal. The American experiment provides that. And while we can't expect modern American audiences to know classical sources (or even biblical sources to some extent), we should expect them to know something about our history. It behooves our schools to teach it, and it behooves the keepers of our culture to promote it. We can't allow a new American mythology that is simply the destruction of the old one. What arts and culture topics would you like us to cover? Please email ideas or feedback to
Telegraph
30-04-2025
- Entertainment
- Telegraph
Titus Andronicus: Simon Russell Beale is superb in this beautiful, blood-soaked nightmare
Any time Simon Russell Beale tackles Shakespeare – his forte – it qualifies as a major event. But marvelling at his superlative Titus Andronicus, which brings him back to his alma mater, the RSC, I also can't help observing how his choice of roles itself has a zeitgeisty feel for major events. He played Timon of Athens amid the financial crisis, King Lear in the run-up to the EU referendum, and Prospero in The Tempest when it felt as if his valorised type of actor was entering a valedictory phase. With Titus, the Bard's most visceral play, Max Webster's revival lands in the Swan at a time when violence, reported and graphically relayed, is part of our quotidian reality. Of course, brutality is a human constant, but it's pressing in on us now from all sides. Furthermore, in the spectacle of a loyal Roman general suffering the dismemberment of his comfort and hope, as a result of tyrannical authority, the work speaks, as if with urgency, to the current mood of rupture between citizen and state. At 64, Beale is now a generation older than Brian Cox was when he gave a career-best, Olivier-winning account of the role for the RSC in 1988. While there's an attendant drop in martial machismo (not that this was ever Beale's calling-card), his elder-statesman air lends him a frail dignity that will be remorselessly shredded. Entering stooped in a grey overcoat, his Titus is the model of fixity, as if weighed by the cost of his campaigns (drenched in his sons' blood). His eyes widen in discreet disbelief when Joshua James's capricious emperor Saturninus seizes on his daughter Lavinia for himself and there's plain distress when this sick monster orders the release and elevation of those he has captured: chief among them Tamora, queen of the Goths (Wendy Kweh). The performance thereafter beautifully charts Titus' journey from self-containment to man wildly undone, to the point of madness – emerging as the masterchef of one's nightmares, in that notorious grisly banquet where he serves Tamora her pie-baked sons. The blood-letting can risk becoming a distracting circus in its own right. Webster – who orchestrates animalistic scampering movement, stylised horror and ritualised action – doesn't stint on sensation. With machinery deployed on automated overhead tracks, as if at an abattoir, here be men strung from hooks, a hand severed by a chainsaw, gore jetting all over the place and Letty Thomas's ravished Lavinia left tongue-less and hand-bereft. Oddly, it's the spurts of poetry, as if in redemptive answer to the inhumanity, that stay with you. As much as he catches the dark incidental comedy of Titus's numb stoicism, it's Beale's handling of the lyricism that brings a perverse smile of pleasure to the lips. And the verse-speaking is largely tremendous across the board, with Emma Fielding akin to an appalled witness as his sister Marcia (a neat gender-flip) and Natey Jones ferocious yet oddly forgivable – because so damned for the colour of his skin – as Aaron. Much to chew on, and heaps to applaud, but not for the easily queasy. Until June 7;
New York Times
28-03-2025
- Entertainment
- New York Times
Historical Fantasy Novels Offer a Magical Escape Into the Past
People have been telling fantastical tales about the past since, well … most likely long before our ancestors began painting caves with wild beasts that danced in the firelight. A ragtag collection of Bronze Age skirmishes is transformed into the Trojan War, where gods meddle and great heroes are dispatched on quests we're still retelling. Alexander the Great, already pretty remarkable, ends up a larger-than-life character in romance tales across Africa, the Middle East, Europe and Asia that have him battling centaurs and searching for the fountain of life (inspired by even older tales of Gilgamesh). If the past were a foreign country, clearly a great number of us would be eager to plan a trip. While I appreciate and admire the wild creative freedom of a secondary world setting, I have a special place in my heart for fantasy novels set in our historical past — particularly those that are well-researched and interrogate their settings in novel ways (authors, please keep including notes at the end!). Below, in vague chronological order, are a few of my favorites. Lavinia The final novel by one of speculative fiction's giants takes us to the sacred woods and hardscrabble towns of Italy long before the rise of Rome. Le Guin breathes life and agency into Lavinia, a nonspeaking character in Virgil's 'Aeneid,' turning the Latin princess with whom Aeneas will forge the dynasty that one day founds Rome into a heroine in her own right. Now, as Le Guin herself acknowledged, 'The Aeneid' is not real history: It's a Roman's politicized retelling of an ancient Greek mythical imagining of a Bronze Age war. And yet it's this chain of storytelling — evolving across centuries — that I find riveting. She Who Became the Sun If we live in a glory age of fantasy, one of its richest (and most overdue) trends is interrogating the gender politics of stories we've been retelling for centuries. Parker-Chan's debut novel does this beautifully, reimagining the founding of the Ming Empire through a wonderfully queer lens (full disclosure: I loved it so much, I blurbed it). Come for the clashing politics and richly realized scenes of 14th century life among Mongol warriors and Chinese monks, stay for the rise to power of a former village girl who assumes her brother's name and changes the fate of an entire people. The Bird King Set in the final days of the last Muslim emirate in Spain, 'The Bird King' quietly showcases the dazzling diversity and complicated mix of religion, culture and language that was the norm in far more places throughout history than we modern humans tend to believe. I fell hard for Fatima and Hassan, the Circassian concubine and magically talented mapmaker at the heart of this impeccably researched, meditative and adventurous book. Their friendship is as profound and heart-wrenching as any romance. The Pasha of Cuisine If a reader is very fortunate, she may come across a book once or twice in her life that makes her think: Was this written just for me? Ersin's Ottoman epic is one of my own personal literary treasures (I blurbed this one too). The book follows the whirlwind adventures of a young chef from the imperial palace as he travels the world, learns cooking magic and wields his enchanted delicacies to save the woman he loves. If you're a history nerd who divides your evenings between episodes of 'The Great British Bake-Off' and fantasy novels, you must read this book. A Master of Djinn It's 1912 in Cairo, but not the Cairo we know: This is the alternate fantasy Egypt of Clark's Dead Djinn Universe, first introduced in his short fiction. I adore the steampunk setting of this sharp, witty book — the first full-length novel in the series (and another recent favorite I blurbed) — and the nefarious, bureaucratic tangle of mysteries that surround its main character, Fatma el-Sha'arawi. The youngest female agent at the Ministry of Alchemy, Enchantments and Supernatural Entities, Fatma is tasked with investigating a murder whose perpetrator claims to be the acclaimed polymath al-Jahiz, a real historical figure who has been missing for decades. Moonshine I've been obsessed with this book (now sadly out of print, but still available at your library or a favorite used bookstore) since 2010. Granted, there was a certain kind of magic to reading about a twentysomething, scrappy, idealistic social activist in Jazz Age New York when I was painfully close to the same, nearly a century later. But I was utterly enchanted by Zephyr Hollis and her adventures in a version of my city where the mob is run by vampires and fairies go to night school. Many years later, I still think fondly about this book and think it deserves another chance to shine. Gods of Jade and Shadow We're still in the Jazz Age but far from New York, though I suspect the protagonist of Moreno-Garcia's tale wouldn't mind the trip. Instead, Casiopea Tun is stuck working in the house of her wealthy relatives in a rural part of southern Mexico, where she can only dream of a more exciting life — until she accidentally unleashes the Mayan god of death. Moreno-Garcia is one of my favorite writers working today, and this novel, with its perfectly bittersweet ending, is a gem. Siren Queen The glamour of Old Hollywood is not usually my cup of tea, but this enchanting novel about a Chinese American girl looking to become a star in the 1930s was unexpectedly haunting and beautiful. 'Siren Queen' makes literal the risks and costs of fame: Its Hollywood is one run on blood magic, devil's deals and fireside cabals. And Luli Wei is determined to pay any price to hit it big, even if it means playing monsters on the white-dominated screen — or becoming a monster herself. Flying Snakes and Griffin Claws It may seem odd to include a nonfiction book on this list, but Mayor's mesmerizing dive into a rich treasury of myths and ancient folklore — and the possible scientific and historical truths behind them — is sure to engross any reader (or aspiring writer) of historical fantasy. From the archaeological explanation behind the Golden Fleece to tales of poisonous pet birds and the plague-ridden origins of ghost ships, this is a volume that proves the old maxim: Real life is often stranger than fiction.
Associated Press
15-03-2025
- Entertainment
- Associated Press
Georgia Shreve Awarded Esteemed 2025 Spirit of Wagner Award
/ -- The Boston Wagner Society has announced Georgia Shreve as the recipient of its inaugural Spirit of Wagner Award, honoring her extraordinary contributions to the arts. This private VIP event will take place at The University Club of New York on Wednesday, March 19, celebrating Shreve's prolific career as a composer, writer, playwright, and producer. HONORING A VISIONARY ARTIST AND ADVOCATE FOR WOMEN IN THE ARTS A pioneering interdisciplinary artist, Georgia Shreve's career spans over four decades, with performances of her compositions at Carnegie Hall, Lincoln Center, and other renowned venues. Her literary works have appeared in The New Yorker and beyond, and she has been a champion for women in the arts, creating opportunities and employing hundreds of artists through her production company, Ideation Productions. Shreve's work frequently centers on the lives and struggles of women, a rarity in classical music and opera. From ancient female figures to modern trailblazers, her operas and literary works explore themes of resilience, identity, and empowerment. The Spirit of Wagner Award recognizes artists who embody Richard Wagner's vision of Gesamtkunstwerk—the total work of art—seamlessly blending multiple disciplines into a singular artistic force. As a composer, playwright, poet, and novelist, Shreve epitomizes this ideal, making her a historic first honoree. This exclusive evening will bring together luminaries from opera, literature, and the performing arts to celebrate a woman whose creative genius has shaped the artistic landscape. ABOUT BOSTON WAGNER SOCIETY The Boston Wagner Society is dedicated to preserving and celebrating the legacy of Richard Wagner, fostering appreciation for his works, and supporting artists who exemplify his artistic ideals. Under the leadership of Jane Eaglen, the society is expanding its mission with the launch of a biannual festival with orchestra, ensuring Wagner's influence continues to inspire future generations. ABOUT GEORGIA SHREVE, HONOREE Georgia Shreve is a distinguished composer, writer, playwright, and poet whose multifaceted talents have earned acclaim across the arts. With degrees from Stanford, Brown, Columbia, and the University of Pennsylvania, she seamlessly blends literature, music, and theater. Her works have been performed at Carnegie Hall, Lincoln Center, and London's Royal Over-Seas League, while her writing has appeared in The New Yorker, The New Republic, and The New Criterion. The New York Times praised her music as a 'psychologically pointed setting' of Eliot's 'Prufrock'. She is also the founder of Ideation Productions, developing talent in film, music, and theater. Shreve's compositions span opera, orchestral works, and multimedia art, often integrating visual elements by artists like Dalí and Hockney. Recent works include 'Lavinia' and 'Anna Komnene,' performed at Alice Tully Hall, featuring some of opera's top voices with the Czech National Symphony Orchestra. Her latest projects include 'Lives of a Woman', a song cycle for soprano and orchestra, and 'Requiem for the 20th Century: Visions and Voices', a 10-part oratorio exploring history's darkest moments. A true polymath, Shreve continues to push artistic boundaries, inspiring generations of creators. ARTIST BIOS JANE EAGLEN, SOPRANO Jane Eaglen has earned worldwide recognition as one of the most formidable dramatic sopranos of her generation. Her extensive repertoire includes commanding performances with the New York Philharmonic under Zubin Mehta, Chicago Symphony under Daniel Barenboim, and Boston Symphony Orchestra under Bernard Haitink. Beyond her Grammy Award-winning recording of 'Tannhäuser', her discography includes acclaimed solo albums for Sony Classical featuring works by Wagner, Bellini, Strauss, and Mozart and Bellini's Norma with Ricardo Muti. A dedicated educator, Eaglen serves on the faculty of New England Conservatory and is the founder and artistic director of the Boston Wagner Institute, as well as serving as the President of the Boston Wagner Society. , TENOR ROY HAGE A multi-Grammy-nominated tenor, Roy Hage made his LA Opera debut this season in Mary Kouyoumdjian's 'Adoration'. Born in war-torn Beirut, he moved alone to the U.S. at 16 to pursue opera, later earning recognition for his 'uncommonly beautiful voice' (Musical America) and 'haunting' performances ( A champion of new works, Roy has collaborated with numerous Pulitzer Prize and Grammy-winning contemporary composers while performing traditional principal roles in more than 40 operas, including 'The Tales of Hoffmann', 'Roméo et Juliette', 'Pelléas et Mélisande', 'Candide', 'The Rake's Progress', 'La clemenza di Tito', 'Manon', and many more. KRISTIN YOUNG, SOPRANO Praised as 'fantastic' (The Toronto Star) and for her 'masterful vocal control' (The Boston Musical Intelligencer), Kristin Young has performed at Carnegie Hall, Lincoln Center's Rose Theater, and The Metropolitan Opera. This season, she debuts at the Harris Theater in Chicago in 'Treemonisha' and performed 'Knoxville: Summer of 1915" with the Idaho State-Civic Symphony. She has also appeared as Micaëla in 'La tragédie de Carmen' and Zenobia in 'Radamisto'. MICHAEL SLATTERY, TENOR Known for his interpretive originality and luminous voice, Michael Slattery has performed leading roles at the Théâtre du Châtelet in Paris, Staatsoper Berlin, Opéra de Lyon, and Festival d'Aix-en-Provence. His collaborations include performances with the New York Philharmonic, Philadelphia Orchestra, and National Symphony at the Kennedy Center. His recordings include Handel's 'Saul' with René Jacobs, 'Acis and Galatea' with Nicholas McGegan, and his solo albums The Irish Heart and Secret and Divine Signs. SAMANTHA NAHRA, ZWISCHENFACH A dramatic Zwischenfach soprano, Samantha Nahra is known for her powerful, flexible voice and passionate performances. A strong advocate for new music and accessibility in the arts, she has premiered operatic works with Opera on Tap and was recently featured in Classical Singer Magazine for her work on dyslexia and music learning. Samantha has performed roles including Third Norn (Götterdämmerung), Donna Anna (Don Giovanni), and Micaëla (La tragédie de Carmen), and has been a finalist and award recipient in multiple vocal competitions. She is an active member of Opera America's Education & Community Engagement Network. Roy Hage Ideation Productions +1 703-945-2926 Legal Disclaimer:
