'Based on the original by Seneca the Younger written in the 1st century AD'.
World premiere of a Hayloft Project production commissioned by the Malthouse Theatre, at the Tower Theatre, 16 September - 3 October 2010.
Director: Simon Stone.
Performed at the Adelaide Festival, 2-4 and 6-7 March 2018.
Director: Simon Stone.
Cast: Thomas Henning, Chris Ryan, and Toby Schmitz.
Set and Costume Designer: Claude Marcos.
Composer and Sound Designer: Stefan Gregory.
Lighting Designer: Govin Ruben.
Dramaturg: Anne-Louise Sarks.
'Simon Stone’s breakthrough production now feels like something of a museum piece.'
'I think it was Peter Brook who said the longest that a staging of a play could remain vital was five years. The Hayloft Project’s Thyestes, directed by Simon Stone and adapted from Seneca’s tragedy by Stone himself, Thomas Henning, Chris Ryan, and Mark Winter, was first seen at the Malthouse Theatre in 2010. Notwithstanding a handful of updates to the text, this production feels like it belongs to a particular moment in time, appearing amid the largely confected furore around the proliferation of adapted classics on Australian stages. There is something, too, in its depiction of a certain kind of hypermasculinity that seems to date it to a specific period in Melbourne’s independent theatre scene, before the recent upsurge of queer work by Sisters Grimm and others. And yet this Thyestes remains viscerally alive: confronting and funny, a deeply compelling mix of the excessive and the ascetic, like the pared-back, shoulder-to-the-wheel rock and roll of a middle-period Bruce Springsteen album. (The Boss does not feature in Stefan Gregory’s raucous sound design, but Wu Tang Clan, Queen, and Roy Orbison do.)' (Introduction)
'Simon Stone’s breakthrough production now feels like something of a museum piece.'
'I think it was Peter Brook who said the longest that a staging of a play could remain vital was five years. The Hayloft Project’s Thyestes, directed by Simon Stone and adapted from Seneca’s tragedy by Stone himself, Thomas Henning, Chris Ryan, and Mark Winter, was first seen at the Malthouse Theatre in 2010. Notwithstanding a handful of updates to the text, this production feels like it belongs to a particular moment in time, appearing amid the largely confected furore around the proliferation of adapted classics on Australian stages. There is something, too, in its depiction of a certain kind of hypermasculinity that seems to date it to a specific period in Melbourne’s independent theatre scene, before the recent upsurge of queer work by Sisters Grimm and others. And yet this Thyestes remains viscerally alive: confronting and funny, a deeply compelling mix of the excessive and the ascetic, like the pared-back, shoulder-to-the-wheel rock and roll of a middle-period Bruce Springsteen album. (The Boss does not feature in Stefan Gregory’s raucous sound design, but Wu Tang Clan, Queen, and Roy Orbison do.)' (Introduction)
