Multi-ethnic, Indigenous, and Intertextual Dialogues in Drama
Edited By Dorothy Figueira and Marc Maufort
Kathleen L. Komar A Punk-Rock Elektra: Ruth Margraff’s The Elektra Fugues 161
A Punk-Rock Elektra: Ruth Margraff’s The Elektra Fugues Kathleen L. KOMAR University of California, Los Angeles The last decade of the twentieth century in the United States presents flurry of activity for scholars interested in examining the legacy of classical Greek culture in contemporary times. The House of Atreus became a particular fascination for the American stage in the late 1990s.1 The recent work of bi-costal American librettist and playwright Ruth Margraff provides evidence of this phenomenon.2 Margraff’s The 1 Frank McGuinness’s adaptation of Sophocles’s Elektra. The New York version under the direction of David Leveaux ran quite successfully on Broadway. The play was nominated for several Tony Awards (including a nomination for Zoe Wannamaker as Elektra). Garrett Fisher’s opera Agamemnon, which uses Taiko drummers as well as dance (choreographed by Christy Fisher, the composer’s sister) and masks, played in Seattle’s Nippon Kan Theater in June of 1998. Interestingly, another joint effort by a Japanese woman and British male was mounted in Europe in the summer of 1998. A version of Aeschylus’s Agamemnon, reworked by Risako Ataka and Daniel Foley and retitled Clytemnestra, ran at the Edinburgh Festival Fringe in August of 1998. Euripides’s Orestes was revived in April and May of 1998 at the Franklin College Theater in Indiana. Playwright Ellen McLaughlin staged Iphigenia and Other Daughters at New York’s Classic Stage Company in 1995. The Greeks, an adaptation by Kenneth Cavander based on Euripides, Aeschylus and Sophocles and commissioned by the Royal Shakespeare in 1980, ran in Los...
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