PROGRESS OF GREEK PLAY

Rehearsals for the "Agamemnon" of Aeschylus, the Greek play, to be produced by the Classical Department in the Stadium, June 16 and 19, have been held regularly since October. This tragedy is the first of the Oresteia, the three plays on the fortunes of the house of Atreus. Representing the highest achievement of Aeschylus and probably of all Greek drama, they form the only extant specimen of a trilogy.

The music of the play has been composed by Mr. J. E. Lodge, and will be designedly simple in order to suggest the subordination of the original accompaniament to the words of the poet. All choral odes were sung in unison; and this effect will be retained in the processional song of the opening of the play. The formal choral stasima, however, will be arranged in harmony by Mr. Lodge in order to avoid monotony.

The training of the chorus and of the solo singers will be under the direction of Mr. B. G. Willard, Instructor in Public Speaking. The development of the voices of the actors will be under the direction of Mr. Willard and Mr. George Riddle '74, who assisted in the production of "Oedipus" in 1881. Mr. A. S. Hills '00, Instructor in Public Speaking will direct the dramatic action of the players.

The Scenery and Stage Properties.

Instead of permanent buildings, which formed the background of the scene in the fourth century, B.C., the field inside the Stadium will be used. Fronting the spectators, a simple structure representing the palace at Argos will be erected. This palace will serve also as a sounding-board for a space presenting very difficult acoustic conditions. On either side of the royal palace will be a passage leading to the orchestra, located between the front row of seats and the palace, which, with it, forms practically a tangent. In this circular space of ground, about 65 feet in diameter, with its periphery marked by an apparent curbstone, the chorus and actors will perform their parts. In the centre of this circle will be erected the altar of Dionysus, under which the musicians and the prompter will be stationed.

The "Agamemnon" offers ample opportunity for spectacular effect. There will be numerous supernumeraries of diverse description. Two chariots, each drawn by two horses, will be used. The actors will not wear the mask nor the high boot of ancient tragedy, but the characteristic rich dress will be reproduced in considerable detail.

The Plot of "Agamemnon."

At the beginning of the "Agamemnon," the first of the series of the trilogy, the hero's return from Troy is anxiously awaited at Argos. The play opens with a nocturnal view of the palace at Mycenae, from the roof of which a watchman details in picturesque prologue, the long weariness of his watch for the beacon light, that should announce the fall of Troy. At length, seeing the beacon flash out, he shouts the good news to the people in the palace, but not without a dark word of foreboding for the future. Twelve old men of Mycenae, who form the chorus, now file through a side passage into the orchestra, chanting as they march.

During the song, Clytaemnestra comes from the palace to make a thank-offering to the gods, and as the chorus concludes its chant, she describes in a magnificent passage, the progress of the beacon fires from peak to peak. Clytaemnestra then enters the palace, and the first episode comes to a close.

In the ode which follows, the chorus thanks the gods for the victory, whereby the crime of Paris is avenged. At the entrance of a dust-covered messenger, the olders resume their places by the altar, and the second episode begins.

The messenger bids them prepare a loyal welcome for Agamemnon. Clytaemnestra then appears and tells of her joy at the knowledge of her husband's victorious home-coming. After the departure of the messenger, who before leaving, recounts the storms that scattered the Greek fleet, the chorus sings the second stasimon.

The third episode opens with the approach of Agamemnon and his train. The king, seated in his chariot, greets the gods of the land, and acknowledges the welcome given him by the chorus. Clytaemnestra appears, followed by attendants carrying rich clothes of purple. She describes the anxiety which she had felt for the king's safety, and tells how she had sent Orestes, the pledge and symbol of their plighted troth, to the home of a distant friend, that he might not be exposed to danger in case of a revolt in the land. Agamemnon, enjoining the queen to treat kindly the captive maiden Cassandra, descends from his chariot and enters the palace.

In the fourth episode Clytaemnestra roughly orders Cassandra, Priam's daughter, whom Agamemnon had chosen from the spoils of war, to enter the palace and begin her life of slavery. The captive remains silent in her chariot for a time. Resolving to meet death bravely, however, she finally enters the palace, from whence piercing cries are soon heard. The doors of the palace are suddenly thrown open, and the elders behold the body of Agamemnon lying near that of Cassandra, and Clytaemnestra still gazing upon her bloody work. She steps forward and calmly exults in what she has done, trusting to Aegisthus to defend her cause. The chorus advances upon the usurper, Aegisthus, who stands ready to fight. Clytaemnestra, however, intervenes and leads him away saying that she and he will rule the palace.

The following cast includes possible understudies. In case both candidates for one role are finally considered worthy of a place, such distribution can be made, since there will be two performances. Agamemnon,  P. H. Noyes '06   A. L. Benshimol '07 Clytaemnestra,  H. S. Wyndham-Gittens, L.L.S. '06   R. A. Moore 1G. Cassandra,  A. S. A. Brady '08 Herald,  D. Gardiner '07   H. C. Washburn '06 Aegisthus,  A. L. Benshimol '07   L. Carroll 1G. Watchman,  M. C. Clapp '07   B. H. Gordon '08 Leader of Chorus,  F. H. Birch 2L.

Rehearsals for the chorus will begin next week. Of the following men, 12 will finally be chosen: A. G. Eldridge '08, C. McK. Eldridge '07, R. V. Magers 1G., S. F. Strother Sp., J. W. Appel '06, G. Bettman 2L., E. N. Fales '08, N. B. Groton '07, B. N. Langstaff '08, K. Altrocchi '08, F. H. Birch 2L., S. B. Luce '09, J. J. Rowe '07, J. L. Swarts '07, M. Adelsheim '09, B. Crocker '09, R. E. McMath '08, H. H. Perry '07, LeR. J. Snyder '08.

The Musical Committee consists of Professor C. B. Gulick '90, Professor M. H. Morgan '81, and Professor A. A. Howard '82. The General Committee in charge of the play consists of Professor Gulick, Professor W. F. Harris '91, and Professor H. W. Smyth '78.

Applications for seats will not be received until some time in May.

Rehearsals for the chorus will begin next week. Of the following men, 12 will finally be chosen: A. G. Eldridge '08, C. McK. Eldridge '07, R. V. Magers 1G., S. F. Strother Sp., J. W. Appel '06, G. Bettman 2L., E. N. Fales '08, N. B. Groton '07, B. N. Langstaff '08, K. Altrocchi '08, F. H. Birch 2L., S. B. Luce '09, J. J. Rowe '07, J. L. Swarts '07, M. Adelsheim '09, B. Crocker '09, R. E. McMath '08, H. H. Perry '07, LeR. J. Snyder '08.

The Musical Committee consists of Professor C. B. Gulick '90, Professor M. H. Morgan '81, and Professor A. A. Howard '82. The General Committee in charge of the play consists of Professor Gulick, Professor W. F. Harris '91, and Professor H. W. Smyth '78.

Applications for seats will not be received until some time in May.