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2766 Amphora Fall04 ® A publication of the American Philological Association Vol. 3 • Issue 2 • Fall 2004 “THE TIME IS THE PRESENT, Boston’s Quincy Market: Classical Style and the THE PLACE IS ANCIENT GREECE”: Puritan Instinct THE (VERY) CONTEMPORARY COMEDY by Charles Rowan Beye OF ARISTOPHANES by Elizabeth Scharffenberger n 1826, John Quincy, the mayor of Boston, was proud to open a new market n the summer and fall of 2004, New I York City witnessed an extraordi- on the waterfront, a building that he had I labored three years to bring into being. nary “Aristophanes-event.” The- ater-goers had the opportunity to see Behind it stood Faneuil Hall, the market professional performances of three come- that Quincy Market, as it was soon called, dies by Aristophanes. The show with was about to replace (see Fig. 3). In a city the highest profile was the production of where streets were laid out in the most ran- Frogs by Lincoln Center Theater (LCT), which opened in July at the dom fashion – as the tradition goes, follow- Vivian Beaumont Theater. LCT’s Frogs Fig. 1. Dicaeopolis (played by Liat Ron), ing the old cow paths – Quincy planned an closed on October 10, but before it did, on the right, conversing with Euripides orderly arrangement of several straight the National Theater of Greece brought (played by J. M. McDonough) in the roadways, running perpendicular to each their production of Lysistrata, fresh from Freshly Squeezed Creative Juices other, grid fashion, especially two broad the Summer Olympics in Athens, to Theatre Company production of streets either side of the market building. City Center for six performances begin- Aristophanes’ Acharnians, 2004. Each of these two streets was bordered on ning October 6. That same week saw Photo credit: Jonathan Slaff. the Off-Off-Broadway premiere, at The- its other side with a parallel row of build- ater Three on West 43rd Street, of an To appreciate what may lie behind ings, and to the west of the market, there adaptation of the rarely performed the current surge in Aristophanes’ popu- was a large open space fronting Faneuil Acharnians (see Fig. 1), presented by a larity, it is helpful to reflect on why Hall. The ensemble resembled the classical new troupe called Freshly Squeezed there has not been an abundance of pro- organization of the ancient Athenian agora Creative Juices Theatre Company fessional productions of his comedies. (FSCJTC). We could list as causes their infamous or the Market of Trajan in Rome or what in The majority of critics in the New obscenity, admittedly less of a problem 1830 Charles Foster would erect in the York press panned LCT’s Frogs, which today than in the past, and their “politi- center of Covent Garden, the piazza that Nathan Lane (who played Dionysus) cal incorrectness,” especially in jokes Inigo Jones (1573-1652) had created for adapted “even more freely” from an about women and foreigners. Yet the London. It was Jones who had brought the already free adaptation of the comedy chief impediment is undoubtedly the Italian Renaissance to England, after see- that Stephen Sondheim and the late topicality of the comedies. How does Burt Shevelove created in 1974 (see one make jokes about Pericles and ing first hand the architecture of Andrea Fig. 2). Yet poor notices did not keep it Cleon intelligible, not to mention funny, Palladio (1508-1580), whose masterpieces from being enthusiastically received by continued on page 2 continued on page 3 spectators. The large audience at the performance I attended stood for an The Library of Alexandria Reborn ...4 A History of Alexander ovation, and I understand that such ova- on the Big Screen.......................................12 tions were common. Although I agree Book Review: “Julius Caesar: A Beginner’s Guide”......................................5 Ancient Languages in Mel Gibson’s with some of the critics’ complaints, I “The Passion of the Christ” ...............14 Book Review: “Achilles: A Novel” ......6 am delighted that Lane, director Susan The “Oresteia” Project continues.....16 Gladiatorial Games: Ancient Stroman, and the other members of Reality Shows? ................................................7 Audio Review: “Selections from the Frogs’ production team found a Ovid Read in Classical latin” ...........18 Birthplace of Empire: way to make Aristophanic comedy The Legacy of Actium................................8 “Troy” panel at the Annual Meeting of the American Philological appeal to a broad audience that Medea My Mind..............................................10 Inside Association in Boston..........................19 extends far beyond the academic circles Natty Bumppo Quotes Horace.........10 of classicists and theater historians. Guidelines for contributors........20 “THE TIME IS THE PRESENT, THE PLACE IS ANCIENT GREECE” continued from page 1 to audiences who have absolutely no of poetic skill with far-reaching political ing the texts and introducing markedly basis for appreciating them? Where is and cultural implications, perhaps gain modern elements into their presenta- the reward for staging a comedy that something from their very antiquity. tions; the desired effect in both produc- makes no one laugh? The exception has That Aristophanes is an ancient Athenian tions was to convey (and here I para- been Lysistrata. Its representation of the playwright – the author of “classics”– phrase the very first words of Burt differences between women’s and grants contemporary stagings of his Shevelove’s script) that “the place” may men’s interests, though rooted in the comedies an imprimatur of authority be “ancient Greece,” but “the time is particular social arrangements of ancient that is otherwise hard-won. Especially the present.” In itself, the laughter gen- Athens, meshes with stereotypes still in a time when many are concerned erated by the introduction of anachro- thriving in contemporary American cul- about “unpatriotic” criticisms of current nistic elements is a boon; if spectators ture; it garners laughs easily and there- policies and practices, it is useful (and start chuckling because (for example) fore gets performed on a relatively regu- natural) to seek out some traditional the protagonist of an ancient Greek lar basis. authority that legitimates criticism and comedy enters holding a martini glass, But current events are rendering protest. Because they are “classics,” they are primed to keep laughing during Aristophanes’ topicality less of an Aristophanes’ comedies give artists the rest of the show. impediment. For better or worse, come- authorization to engage in political Music played a crucial role in giving dies that question the purposes and satire, and audiences have permission to both productions an up-to-date feel. benefits of a war that has no clear end listen. Moreover, his plays afford both Songs by Stephen Sondheim, who sup- nor “exit-strategy” – and that satirize artists and audiences some valuable plemented his edgy, Stravinsky-inspired the self-serving behavior of political breathing space because they offer what score of 1974 with several new numbers leaders, the undue influence of “special are, by necessity, oblique, indirect per- in a variety of contemporary styles, cre- interests” and “insiders,” the inefficien- spectives on our current events. The ated a thoroughly modern musical land- cy and dysfunction of political institu- topicality of Acharnians and Frogs, and scape for Frogs; Susan Stroman’s breath- tions, the lack of accountability, the sti- their setting in a long-gone era that may taking dances gave the show the look of fling of free speech, and the apathy and resemble but is not identical to our own, the latest Broadway blockbuster. In gullibility of the public – seem extreme- are thus assets as much as liabilities. Acharnians, the Sex Pistols’ “God Save ly relevant these days to theater profes- Nonetheless, directors and actors the Queen” introduced Dicaeopolis’ sionals, even if the individual jokes are face challenges in helping their audi- defiant stand on the Pnyx; Outkast’s about long-dead Athenians. Judging by ences feel at home with these ancient “Hey Ya” marked the party atmosphere the applause, I would say that they comedies. To maximize laughs and also of the conclusion. Stage properties seem relevant to audiences, too. get their messages across, the produc- added to the anachronistic fun. In Today, the political phenomena that tion teams of both FSCJTC’s Acharnians Acharnians, the dyspeptic Dicaeopolis Aristophanes addresses are objects of and LCT’s Frogs took pains to generate swilled Pepto-Bismol in the prologue; concern across ideological lines. Most a sense of contemporaneity by rework- later on, the tragedian Euripides was recently, however, the ancient comedi- rolled out on a dolly, scribbling furiously an has attracted keen interest from on a yellow pad with a giant pencil. In those who oppose the current Bush Frogs, Dionysus and Xanthias first administration’s post-9/11 policies. The appeared with the aforementioned mar- success of The Lysistrata Project in tini glasses in hand; the sartorially savvy March 2003 surely boosted the reputa- Heracles had a closet full of lion skins tion of Aristophanic comedy as a potent and clubs, and Charon lit up a joint on vehicle for protest. Although both the long journey across the Styx. In the LCT’s Frogs and FSCJTC’s Acharnians second act of Frogs, Pluto’s glitzy under- were in development by 2003, more world palace and leggy female atten- recent events in Iraq and elsewhere dants evoked a Las Vegas casino, com- shaped the final visions of both produc- plete with showgirls. tions, which shared the goals of criticiz- Although the strategies of LCT and ing the rush to war in Iraq and – with FSCJTC for staging Aristophanes were the November 2004 elections approach- similar, their approaches to reworking his ing – of encouraging their audiences to texts differed. Adopting Douglass Park- rise above apathy and complacency. er’s translation of Acharnians as the basis Modern plays, such as Tim Robbins’ for their script, FSCJTC’s Liat Ron and Embedded, might appear to have the Gregory Simmons strikingly transformed advantage over Acharnians and Frogs Dicaeopolis into a woman, played by because audiences can instantly recog- Ron.
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