With a new experimental reworking, the drama department’s interpretation puts an innovative spin on the classic Greek drama. ‘Lysistrata’ runs until Feb. 27 at the Arthur Storch Theatre of the Regent Theatre Complex.

Under the direction of the brilliantly creative Stephen Cross, a faculty member of SU’s drama department, the experimental aspects of this retelling are carried off with ease, grace and expertise. In a field in which tradition is valued, Cross takes conventional techniques and shapes them into his own image. 

The task of reviving an ancient classic, such as ‘Lysistrata,’ with a contemporary spin can be an intimidating process. Traditionally, Greek theater can be stoic and stiff, both physically and in regard to storyline. Syracuse Stage’s production breaks down this wall and inserts vigorous physical movement, adding a modern and experimental side to the ancient text.

Written in 411 B.C. by Athenian playwright Aristophanes, ‘Lysistrata’ looks to Athens and Sparta, the two feuding states of Greece during the Peloponnesian War. The war lasted for approximately 30 years, but the story of ‘Lysistrata’ was conceived and published at a juncture in the war when Athens was at a low point in the warfare. The plot involves the women of Athens and Sparta, fed up with their husbands constantly at war. The females wage a strike, denying the men sex to stop the fighting. Though an ingenious plan in theory, the strike proves difficult for all involved.

Joseph Fierberg, a member of the play’s Old Man Chorus, said Cross’ directing process was focused on character development.

‘In the first two weeks, before we started working on the show, (Cross) had us do a lot of exercises to get into our character’s mental and physical state of being, including choosing an animal which resembles our character,’ said Fierberg, a sophomore musical theater major.  

Breaking the boundaries of a customary play, Cross said he had innovative goals for his piece. ‘Our show is based on futurism, surrealism and Dadaism,’ Fierberg said. The last of those inspirations is a concept deeply rooted in the anti war movement.

Praise must be given to choreographer Andrea Leigh-Smith, who is also part of the drama department faculty. The movements she strategically created for each part of the play not only furthered the plot but also developed the characters’ state of being from one moment to the next. Shane Goldbaum-Unger, a junior stage management major and stage manager for ‘Lysistrata,’ said there is ‘untraditional blocking’ in the piece.

‘The cast did a lot of movement work for the show. It’s very expressive in that sense,’ he said.

The futuristic movement of the ensemble constitutes the play’s new modern feel.

The cast members of ‘Lysistrata,’ consisting entirely of SU acting and musical theater majors, leave no open gaps in their portrayals. All the actors, thanks to the preparation from their director, executed their individual persona with confidence and bravery.

Most notable among the cast include Milly Millhauser, a junior acting major, who pulled off playing the confident, mediating lead, Lysistrata, with masterful skill. Her every movement around the stage, up ladders and into the audience had a realistic spark to them. Most particularly, in her preaching to the rest of the ensemble, she pours endless amounts of emotion into every word she utters. Although she was not engaged in much of the actual fighting onstage, Millhauser’s poise was never lost. Her presence shined through during her dialogue.

Another standout, junior acting major Kendal Cooper,played Lampito, a Spartan woman who agrees to help Lysistrata in her strike to end the warfare. One of the more extreme personalities onstage, Cooper had a level of intensity that never went too overboard or fell flat — a perfect balance performers endlessly try to master.

Though several individual performances stood out, ‘Lysistrata’ proved to be an ensemble effort. Each character inspired and played off one another on the stage, and no one acted as a subordinate to another.

The level of difficulty in paying homage to a dramatic staple is sky high, and Cross’s vision sends this production of ‘Lysistrata’ to the moon.

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Published on February 20, 2011 at 12:00 pm

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