Steadstyle Chicago
	March 2010 Theatre Review by Chris Arnold
	Agamemnon I remember Theatre History, and consuming copious amounts of coffee to get through "Agamemnon".  When I heard that Dream Theatre was tackling this play I was curious to discover why and how they were doing it.  Dream Theatre is not telling the tale told by Aeschylus, and this works to their advantage.  Dream Theatre has set out to produce The Agon trilogy and "Agamemnon" is the first installment.  "Agamemnon" is worth checking out, regardless of your feelings towards the original. The Greeks have been triumphant in the Trojan War and are now returning home with the spoils.  The great General Agamemnon sets his sights on Cassandra, the Trojan Princess cursed with the power to see the future but which no one ever believes.  Agamemnon imprisons her on his boat, claiming to want only her gratitude.  Jeremy Menekseoglu focuses on the tumultuous relationship between Agamemnon and Cassandra on the journey to Greece.  The play has a timeless quality juxtaposing Ancient Greek names and places with contemporary vernacular, and an old time radio feel.  Menekseoglu's script works due to an economy of dialogue.  It is a Herculean achievement (no pun intended) to create a two-person play that never feels over spoken. I feel it worked to the production's advantage to have Menekseoglu serve as the writer, director, and actor.  Such a play could have been a disaster in the hands of poor direction and lesser actors.  Courtney Arnell and Jeremy Menekseoglu both gave powerful performances without ever going over the top.  The play knew when to be quiet, and when to turn up the volume.  I appreciate how the production stayed true to Greek Tragedy by keeping violence offstage, and left it to the imagination.  My only complaints on "Agamemnon" is the pacing could have been tighter, and the intermission killed the momentum. I am now a fan of Dream Theatre because they do not shy away from being theatrical.  I feel there has been a developing trend to create plays that want to be movies, but Dream Theatre embraces the theatrical experience.  The set design by Gia Truong, Louise Sison, Mishelle Oun, Joanna Kurnyta was artistic, yet serviceable.  Anna Weller's lighting design was effectively grandiose, while establishing mood and locale.  Menekseoglu's sound design set the tone from the moment I walked into the theatre and maintained it until I left. However, I must give a fair warning to the introverted patron.  Part of Dream Theatre's mission is to "Leave no member of the audience to feel as a mere spectator, but to be at the very center of the play", and they do just that with the preshow.  The performance began from the moment I entered the lobby, and continued until I got to my seat.  I commend the committed performances of Anna Weiler, Alicia Reese, and Molly Gray; who provided background information (the job of a Greek Chorus) in stages while I got to my seat.  I am an individual who stays out of haunted houses due to anxiety issues, and this put me on edge.  If you are an audience member as I am, I recommend arriving as close to curtain as possible.  Don't worry, there is not a bad seat in the house. "Agamemnon" runs through April 11, 2010 at Dream Theatre, 556 W 18th St, Chicago.  Performances are Thursdays-Saturdays at 8:00pm and Sundays at 7:00pm. Tickets are $15-$18 and can be reserved by visiting www.dreamtheatrecompany.com or by calling 773-552-8616.   About Chris Arnold Chris Arnold has been in Chicago for seven years where he has directed for Act One Studios, the side project, Bailiwick, Illinois Theatre Center, LiveWire Theater, and Diamante Productions, amongst others.  For three years he was a company member with Circle Theatre, and directed the Jeff Recommended productions "Escanaba in Love" and "Boy".  He also directed "A Midsummer Night's Dream" with Circle Theatre Youth Ensemble.  He is the former Associate Artistic Director for Thunder & Lightning Ensemble where he directed "Jack Goes Boating," "Red Light Winter" (Named one of the top five memorable productions by a smaller troupe: New City 2008), and "Earl the Vampire".  Chris has interned at Steppenwolf and Goodman Theatre.  While at the Goodman he had the opportunity to serve as the Script Manager for the world premiere of "Blue Surge" by Rebecca Gilman.  When not directing Chris teaches in the Literature & Theatre Department(s) at The Chicago Academy for the Arts, where he has directed "Doubt" and "The Pillowman".  He writes for Chicagocritic.com, and is a member of the Artistic/Technical Team for the Jeff Committee.  Spring 2010 Chris will be a Teaching Artists with American Theatre Company as part of their American Mosaic Program.  He holds an MFA in Directing (with a focus in Critical Studies) from The University of Memphis.