This week for the City Garage classic, we’re excited to bring you the conclusion of our “Three by Mee” trilogy, Part 3: “Iphigenia.” It will be showing on our YouTube channel from 8:00pm Friday through midnight Wednesday. Please watch and tell your friends. Here is the link:
Also, we still have a big library of videos from our members on the YouTube channel: some funny, some heartfelt, some scary, some just fun to watch. If you missed them on our Chuffed page, they’re all still available for you to check out. And, if you can, our fundraising campaign is still running on Chuffed. If you can support us in this difficult time, it means so much:
And, as always many thanks to you who have already given—and some of you have given several times! Merci this week to our friend
Merci and stay safe at home.
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“Iphigenia” by Charles L. Mee originally ran at City Garage from December 1, 2006 to February 4, 2007. It was directed by Frédérique Michel with Production Design by Charles A. Duncombe. The cast was Ed Baccari, Crystal Clark, Troy Dunn, Alexandra Fulton, Sam L., Nita Mickley, Maximiliano Molina, Alisha Nichols, Bo Roberts, Kenneth Rudnicki, Marie-Françoise Theodore.
What the Critics Said in 2006:
LA Times — RECOMMENDED:
“Iphigenia” is foremost an antiwar play, but it is more fascinatingly an incisive look at the tragic disconnect between the sexes. Surrounded by her vapid bridesmaids – a refreshingly cheeky element in Michel’s somber staging – Iphigenia fears suffocating in a domestic vacuum more than her own death. Hungry for the meaningful life that society denies her, she embraces her fate with the zeal of a suicide bomber. It’s a brilliantly revisionist denouement, and a fitting conclusion to City Garage’s ambitious, rewarding season.
Iphigenia is the most accessible of the “Three by Mee” series, both a production and as a play. Mee’s text is still assembled in a Dadaist, collage fashion, bringing together snippets of existing classic and contemporary writing; but in this piece, his curatorial hand feels more focused. In one scene, Mee has written an exchange between Clytemnestra and Agamemnon that has the feel of an old-fashioned drama–which throws the actors for a loop since for three plays straight they’ve been performing in completely post-modern style. Seeing them suddenly grapple with direct conflict and natural release of emotion is odd–it’s like watching soap opera actors whose teleprompters suddenly start scrolling Shakespeare.
Completing a trilogy of Greek-classic adaptations by Charles L. Mee, director Fréderéque Michel demonstrates how she’s settled into view of theater that contains both the authority of stylistic precision mingled with a tenderness that carries the ache of her characters’ stresses and regrets.
The chorus of GIs and scatterbrained bridesmaids get some choice moments, as do Iphigenia (Crystal Clark) and her anguished mother (Marie-Françoise Theodore). Frédérique Michel’s direction is exquisitely nuanced.