The Oxford University Classical Drama Society’s production of Agamemnon continues their aim of presenting each of their shows as true as possible to the original spirit of the text. It proves to be hardly a crash course in Greek tragedy. But the well-known nature of the story, the clear, vibrant and expressive performances of the actors, and the robust translation, make this far more accessible than I expected.

Agamemnon (Tom Mackenzie) has gone off to fight in the Trojan War, leaving his wife Clytemnestra (Kassandra Jackson) behind. During the ten years he is away, she takes on a lover, her husband’s cousin (and a traitor to the throne) and they both subsequently plot to kill the great warrior Agamemnon when he returns home from battle. When he arrives, however, he receives some stark warnings from the impassioned prophet Cassandra (Emma Pearce). Will fate prevail, or will the great warrior heed Cassandra’s warnings?

There are many notable elements to this production, especially aesthetically. Vicki Hallam’s masks for every one of the players is the most immediately apparent. By turns frightening, striking and strangely beautiful, they add real force to the proceedings. The simple staging, in which only a red door is lit up on the stage, through which only a handful of the characters (including Clytemnestra) enter, is also used to powerful effect.

The chorus’s performance is highly choreographed, which sometimes proves distracting. But the strength of their enunciation, timbre of voice and general chutzpah prove more than recompense. What is rather hard for a modern audience is the mannered nature of the chorus, the use of masks (thus obscuring facial expressions), the long monologues and general lack of more contemporary dramatic tension. However, if you look past this and attempt to enter the poetry of the words, then you will be justly rewarded.

Agamemnon continues until tommorow at the Oxford Playhouse.