Review of ‘The Oresteia’ (Bridge Theatre, 2026): “Modern remake of ancient classic is equally immortal”

This is the kind of play you should avoid at all costs if you’re not looking to be shocked. Or gripped. Or pleasantly aghast. It will not feature ancient deities or unpronounceable names. But it will still capture the spirit of the original (no pun intended). With a contemporary setting, Simon Stone’s adaptation of Aeschylus’s trilogy pulsates with the same strength and mysticism of its precursor. To say it eclipses its source material might come off as an overstatement. But it’s undeniable that this version shines in its own right and with its own light.

The human sacrifice that initiates the conflict gets replaced by an unexpected family loss. Christopher Middleton (the modern equivalent of Agamemnon) is haunted by remorse after the tragic death of his daughter, who committed suicide following the discovery of his father’s questionable political tactics — and the public humiliation she was forced into so he could cover his back.

Stone’s script adds freshness by delivering a nonlinear approach. The result is an extremely compelling piece of storytelling. As viewers, we are not entertained, but lured into finding out what’s happening inside the Middleton estate. The most horrific events take place before our eyes. And every bit of information is scattered throughout so audiences can’t tie all the knots until the very end. Not only does it work exceedingly well in terms of dramatic tension, but it also reinforces its dynamic, engaging pacing from start to finish.

The writing teems with depth and subtext. All the major themes in Aeschylus’s opus are still present in Stone’s take. And for the most part, they are adroitly explored. Rage, regret, and revenge are the driving forces that build the plot while also destroying its characters. Augie (Orestes) begins to lose his mind when he realises what his mother did to Christopher. And upon taking matters into his own hands to avenge his murder, he plummets into complete insanity — overwhelmed by colliding feelings of guilt and retribution.

The piece could have veered into something histrionic, but Stone demonstrates dramaturgical prowess through careful character building. All of them are multi-layered, and they experience complex arcs. And so, the play delves into new topics such as father-son estrangement, parental substitution, and even classism, which cement its resonance with today’s viewer.

The staging contributes significantly to the show’s impact. The use of a revolving set allows for seamless narration while also adding an element of surprise through the often ghastly revelations in each scene. At the same time, the fact that most of the performance happens within the house’s glass panes creates a symbolic undertone — perhaps suggesting the imprisonment every personage endures as a consequence of their acts and decisions.

The entire cast excels thanks to an impeccable rendition that brims with rapport, effortlessness, and magnetism. Tom Glynn-Carrey is uncannily seductive as the troubled Augie, while Mary-Louise Parker’s portrayal is flawlessly nuanced and balanced when combining sorrow and humour for the grieving Montie. Another mention goes to Archie Madewke as Lorenzo, whom he plays with stoic charm and commanding presence.

Powerful, absorbing, and eerily unforgettable, The Oresteia has resurrected on the London stage in a way the Olympians could only feel obliged to reward. Although the climax isn’t as stirring as the rest of the piece, Stone’s masterful retelling consolidates its position at the very top of London’s current offer. Whether it’s been born from the head of Zeus or taken years to create wouldn’t make any difference.

All pictures credit to Johan Persson.

The Oresteia plays at London’s Bridge Theatre until 19 September. Tickets are available on the following link.

By Guillermo Nazara