Food has a healing power unlike any other. But does it have the potential to heal one of the most dysfunctional families in history?
Filmed at Timms Centre for the Arts in Edmonton, Studio Theatre’s 2020 graduating BFA class mounts the world premiere of Chrysothemis. It is available to the public as a live-stream on Saturday, Dec. 5, and a digital version will be available for purchase from Dec. 12 to Jan. 1.
Playwright Meg Braem puts a clever 21st-century spin on the famous Greek tragedy of the dysfunctional House of Atreus. Unlike any other, this legendary house carries a bloody family history tarnished by several generations of murder, incest and treachery against each other.
To appreciate Chrysothemis, a little backstory is required. In Greek mythology, King Agamemnon led a fleet of ships to Troy after Prince Paris stole Helen from Menelaus, Agamemnon’s brother. In his arrogance, Agamemnon had previously defied the goddess Artemis and in return, she stilled the winds so he could not sail his fleet.
To appease the goddess, Agamemnon sacrifices his eldest daughter, Iphigenia, and the winds are restored. While the king is away fighting in Troy for 10 years, his wife Clytemnestra stews over the murder of Iphigenia. While waiting to even the score, she takes on a lover, Aegisthus.
When Agamemnon returns, he brings an enslaved concubine, the doomed Cassandra, daughter of the now-dead King Priam of Troy. Clytemnestra plots to kill her husband and while having a bath, she stabs him to death.
“The play (Chrysothemis) starts at the murder of Agamemnon,” said Holly Wandler, a fourth-year BFA drama graduate whose role is that of Electra, Agamemnon’s young 16-year-old daughter. The St. Albert actress describes her character arc as one originally filled with light and laughter to one pressing for vengeance.
“She plots to get back at her mother. She’s filled with rage and grief. That’s her journey – to try to create sense of this. She definitely wants her father’s murder avenged. She has an ancient mindset about honour and peace. She’s a spitfire, emotional and intelligent. She knows how to get a jab in and play her cards,” said the Paul Kane High graduate.
Chrysothemis, the title character, is also a daughter of Agamemnon and Clytemnestra. Growing up in an angry, decaying environment, Chrysothemis (Kaeley Wiebe) yearns for love, affection and peace.
She looks to nurture her damaged and divided family through cooking and mend what is broken. But is it possible to repair a fragmented family using loaves of bread, grapes, tomatoes and olives?
Although the two sisters have sharply divided opinions that generate tension, there lies a genuine affection between them.
“The bonds between Chrysothemis and Electra are very strong. For me it’s one of the most enjoyable parts of the play – how deep their bonds are,” said Wandler.
Hayley Craft, also a Paul Kane High student who graduated from the 2020 BFA stage management program, deals with a completely different set of complexities as assistant stage manager and props manager.
Food takes on a huge role in the play and as props manager, Craft is responsible for cutting and plating the different foods. One of the challenges was finding loukoumades, a Greek, Timbit-style doughnut drizzled with honey and cinnamon.
“We had to be careful with the dietary restrictions of the cast. They had to be vegan, gluten-free, nut-free and dairy-free,” said Craft. Flirt Bakery in northwest Edmonton was hired to bake them, and “the cast thinks they’re delicious,” she said.
Another challenge was finding antique props to blend gracefully with the entire design.
“We even have 18th-century chairs, old books and cutlery made from beautiful wood and metal designs.”
Yet another challenge for the crew and cast was the use of swords and daggers – especially if actors are prohibited from touching each other due to COVID-19 restrictions.
“There were supposed to be fights, but they have to be socially distanced. The fight director came in and choreographed them six feet apart. The actors are fighting but they’re not actually touching each other.”
Technical crews began filming the action with three stationary cameras on Thursday and Friday and will continue during the Saturday, Dec. 5 live-stream. Close-ups will be filmed on Monday and edited for the polished online production starting Dec. 12.
“It’s a really great script. The actors are open and funny and they handle everything well. I would never tire of this show," Craft said.
To reserve live-stream or digital-on-demand tickets, email [email protected] or call the Studio Theatre box office at 780-492-2495.
