Danaans* at the gate. . .
directed by Julie S. Halpern
Love Street Theatre production of July 7-18 2004
by Louis Lopardi
The Trojan Women is basically a Colloquium (another Greek conceptual device). Scholars - or in this case, hysterical, borderline, and quite mad women - gather together to discuss the current state of affairs: We lost the war; now what. It is a neat way to discuss like civilized citizens the insanity present in a post-war environment where in "peace" all is still overshadowed by terror and more bloodshed. It should sound familiar to everyone on the planet by now.
In the opening Athena-Poseidon "duet," Suzanne Hayes presented an always interesting Athena - at once both flirty and cagey - clearly one who hated Troy. Nora Hummel gave us a Hecuba of stature. Tracy M. Walsch's Cassandra was deliciously mad - a clear representation of another kind of "fire of worship" that consumes minds as well as offerings. Julie S. Halpern (who also directed) was a solid and powerful Andromache. There was a note of ironic pride in her "Achiles son chose me." (The son's name, Neoptolemus, can mean "new war.")
As is often the case, the men in Euripides' play, having thankless roles, are puzzling. Bill Corry was consistent as the Grecian herald Talthybius. Never a very bright character in the original play, here he seemed an odd mix of smug and grief stricken - a choice that I'm not sure would work on repeated viewing. Menelaus is always a problem; the character as written is absurd. In this production he hung around like a sulky kid in a pool hall. But what is one to do with him during the long stretches of Hecuba's speeches?
In a relatively minor role as the second maiden, Sheila Joon Ostadazim had a small but fully supported voice; it gave her a real inner power. Overall, a well trained ensemble deftly crossed the minefield of treacherous alliterations in the Lattimore translation ("Once a city sinks into such isolation..." or later "ship...shore...shape..." etc.). Other moments while presented well enough, could have used better dramatic timing. (The "Feed on his flesh" section should have been the high point of the outpouring). The dirge for "Troy's death," and the horse story, really cried out for live accompaniment of some sort.
The author's summation is terse and remonstrative: Despite all the sound and fury and appeasing of Gods, Troy lost the war anyway. Or as Hecuba puts it: "In vain we sacrificed!" Athena re-appeared at the end. Donning the helmet of war, she acknowledged us with a knowing smirk. "Gotcha!" - Aristophanes would have loved it.
*: "Danaans" is pronounced DAN-ay-enz - from the myth of DANaus, progenitor of the DANai. (from the Greek "sleeper")