“A theatrical masterpiece that had me completely transfixed from the first moment to the last.”
I can’t start this review without first saying that The Oresteia is a masterpiece. From the moment I arrived, I was completely transfixed, and that feeling never left me until the final curtain.
Simon Stone’s adaptation of The Oresteia brings Aeschylus’ ancient tragedy into the present day, following one family as betrayal, grief and revenge tear them apart. Exploring justice, morality and the lasting consequences of violence, the production asks whether anyone can truly escape the past.
Running at three hours and 35 minutes, including two 15-minute intervals, The Oresteia is undeniably an epic evening of theatre, yet it never once feels its length. The story shifts seamlessly between different months and years, but Simon Stone’s writing and direction make the timeline surprisingly easy to follow. At times, it felt less like watching a stage play and more like experiencing a gripping three-part television drama unfold live. While there were a handful of scenes that lingered a little longer than they needed to, it never affected my engagement or focus. I was completely absorbed from beginning to end.
The set was unlike anything I’ve ever seen on stage. A rotating, two-storey glass house traps this modern-day family in full view, becoming as much a part of the story as the characters themselves. Combined with crystal-clear dialogue and an audience so captivated you could hear a pin drop, every moment landed with remarkable precision.
The cast is phenomenal, delivering performances that are emotionally raw and consistently compelling. Mary-Louise Parker shines as Montie, while David Morrissey brings commanding gravitas to Christopher. Tom Glynn-Carney is captivating as Augie, matched by Rosie Sheehy’s powerful performance as Alice. Lloyd Hutchinson impresses in the dual roles of Melville and Lester, alongside excellent supporting performances from John Macmillan as Jerome, Archie Madekwe as Lorenzo, Alyth Ross as Jenny and Letitia, and Rakhee Thakrar as Chandra. Together, the ensemble creates a gripping family dynamic that feels painfully authentic.
Among an exceptional ensemble, Tom Glynn-Carney as Augie and Rosie Sheehy as Alice were the standout performances for me. As a huge House of the Dragon fan, it was a privilege to see Glynn-Carney perform live, and he more than lived up to my expectations. His portrayal of Augie was deeply moving, capturing the character’s vulnerability and inner turmoil with heartbreaking sincerity. By the end, I couldn’t help but feel an overwhelming sense of sadness for him.
In contrast, Rosie Sheehy brought much-needed humour as Alice, providing moments of levity that perfectly balanced the production’s darker themes. Her wit and impeccable comic timing offered welcome relief while never undermining the emotional weight of the story.
The Oresteia is playing at the Bridge Theatre until 19 September 2026, and I can’t recommend it highly enough. Whether you’re a lifelong theatre fan or completely new to Greek tragedy, this production is an unforgettable experience. Make sure you get your tickets before it’s too late.
Book your tickets via London Box Office.
Ad / Press Tickets