Carriageworks has always taken the lead in championing experimental works, and its production of The Oresteia in conjunction with Sydney Chamber Opera and ELISION is no exception. Based on Aeschylus’ ancient Greek trilogy exploring sacrifice and revenge, Liza Lim and Barrie Kosky’s unique, confronting and challenging work is set within the bays of Carriageworks, with Charles Davis’ set mimicking both a wedding and funeral venue. From the very start of the production, the audience is welcomed into the world of The Oresteia, with many of the performers already on stage as the audience enters, which means that an eerie atmosphere is created amongst the sold out crowd.

It is not entirely clear what is going on in front of the audience on stage at all times but that is the point. It could be a supernatural exorcism, the rise of zombies or an apocalyptic world but whatever the case it is clear that death is emblazoned across the entire production. This is not a production that feels like entertainment but rather one that requires absolute focus from the audience as they absorb everything unfolding around them.

The music is not pleasant in the way more traditional operas are instead relying on counterpoint, dissonance and harsh timbres to capture the anarchy and chaos of the story, with every part of the voice and instrument being used to create a soundscape that confronts everyone in its path. While this may seem random at times, it is anything but, requiring remarkable precision to execute. 

The ELISION Ensemble does a very good job of mastering a demanding score and making the audience feel like they are part of the action while the six singers, Simon Lobelson, Daniel Szesiong Todd, Mitchell Riley, Jessica O’Donoghue, Jessica Aszodi and Jane Sheldon, also have a very difficult job in that they have to act in the most disjointed and troubling way whilst maintaining their vocal qualities but their physical commitment is extraordinary as they convulse and contort themselves whilst delivering countertenor vocals, soaring sopranos and screams of agony that pierce through the audience. The show is incredibly unsettling, and even after an hour it feels like an emotional roller coaster. As the production unfolds, Charles Davis’ set continues to evolve, reinforcing the ever-present sense of death that the work embodies whilst making everything feel very realistic and present, making the audience feel as if they are part of the space. 

Overall, this is a truly interesting show and nothing like anything you will see in Sydney’s theatre or opera scene. It is executed incredibly well and while not a pleasant watch by any means, it is definitely one that is thought provoking and demands exceptional musicianship and commitment from everyone involved. Carriageworks has a history of championing new and emerging artistry and this is another example of a show that may not hit the mainstream but is incredibly important for the richness and development of Sydney’s and Australia’s arts sector. I cannot promise that you will enjoy this production but it is definitely one that will make you think, which is ultimately is one of the fundamental tenets of the arts.

Rating: ★★★★

The Oresteia plays at Carriageworks until 31 July. For more information, click here. 

All photo credits: Brett Boardman