Logue's "War Music" to premiere at the American Conservatory Theater in San Francisco

Christopher Logue's reimagined version of books 16 -19 of Homer's Iliad, published under the title "War Music" in 2003, will be the inspiration for a new production by the American Conservatory Theater in San Francisco which previews tomorrow, March 26, 2009 with full productions running April 1 through April 26.

[Image: Costume of Achilles, sketch by D.B. Bauer, American Conservatory Theater]

Director Lillian Groag has garnered kudos for her ambitious effort:

"In a wildly theatrical, totally modern interpretation that captures all of the passion and spirit of Homer's Iliad, renowned writer and director Lillian Groag (A.C.T.'s The Rivals) reignites the wrath of Greek warrior Achilles against his archrival, Agamemnon. Adapted from lauded contemporary poet Christopher Logue's ravishing translation that was 45 years in the making, War Music is a large-scale, visionary fusion of language, music, and movement as only A.C.T. can create.

In addition to an ensemble cast of A.C.T.'s finest actors, War Music features the talents of award-winning set designer Dan Ostling (Argonautika, Metamorphoses) and celebrated opera, ballet, and Broadway choreographer Daniel Pelzig—complete with an original score by John Glover." - Los Angeles Times

Ever since Julie Taymor's "Titus" was released to critical acclaim in 1999, a number of playwrights have emulated her modern spin on classical themes to lure audiences to productions based on ancient tales and it appears Groag is using this approach with "War Music" as well. The costumes range from familiar Bronze Age armor, worn by Achilles, to the stereotypical attire of a 21st century military dictator that will be worn by Agammenon. Greek divinities will peer through fantastical masks as they observe and direct the human participants in mankind's most famous conflict.

[Image - Left, Agamemnon; Right, Mask of Hades, sketches by D.B. Bauer, American Conservatory Theater]

"War Music," Groag explains, "is pretty much a choreographed and music piece all the way through. What we're trying to do is not turn it into a play but an epic poem for the theater. So there are three Homers, who narrate but also become characters as they speak. My goal is to slide from narration, where everybody is involved in hearing a story, into this very hot action, and the audience shouldn't know how they got there." - San Francisco Chronicle

The presentation promises to be a moving experience for those of you who can make it to San Francisco during its run. Having depleted my travel budget with a trip to Rome, I must be satisfied with reading "War Music" and Mr. Logue's other Iliad-related tomes including "All Day Permanent Red" and "Cold Calls", the sequel to "War Music" that brought Mr. Logue the Whitbread Poetry Prize.

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Shakespeare's First Theater Uncovered

"Every year hundreds of thousands of visitors make their way to Stratford-upon-Avon and the Globe Theatre, on the Thames, to explore Shakespeare's intriguing past.

Not surprisingly, an unremarkable plot of land on New Inn Broadway, just north of London's medieval City wall, does not rate a mention on the Shakespeare tourist trail, since before now only the most fervent history buffs were aware of the site's significance in the playwright's life.

However, that history can be laid bare after an archaeological dig at the Shoreditch site uncovered the remains of The Theatre - one of the capital's first playhouses — where Shakespeare's works were first performed in the 16th century.

In what the Museum of London Archaeology has described as “one of the most exciting finds of recent years”, an excavation last month uncovered a large section of what is believed to be the original brick foundations of the theatre.

The Theatre, built in 1576, was home to the Lord Chamberlain's Men, the company in which Shakespeare first performed as an actor before his writing career flourished.

Located outside the jurisdiction of the City of London, where puritanical magistrates and city leaders frowned on the debauchery of the theatre movement, Shakespeare and other playwrights were free to express themselves. It is believed that some of his earliest works, perhaps Romeo and Juliet and Richard III, were performed there.

However, their occupancy of the site came under threat after a nasty dispute over the lease on the land in 1598.

The story has it that in the dead of night during Christmas that year the actors and playwrights dismantled The Theatre and moved it, piece by piece, to the South Bank of the Thames, where the original Globe Theatre was erected. Historians have long been aware that the open-air playhouse had stood in Shoreditch, but traces of it had proved elusive until now.

Julian Bowsher, a senior archaeologist at the museum, said that there could not be 100 per cent certainty about the remains. However, he said it was very likely, because the bricks form a polygon, which documentary evidence suggests was the shape of the theatre. “It's certainly in the right area and it's certainly very important,” he said.

Mr Bowsher said that the find was highly significant, not only because it added to Shakespeare's history but also because it would enable comparisions with other early playhouses.

And as Shakespeare might say, “the wheel has come full circle” — the discovery was made during excavations on the site to prepare it for the construction of a new theatre.

The Tower Theatre Company, which performs a Shakespeare work every year, will design its modern playhouse around the remains of the original. Jeff Kelly, the chairman of the company, said: “We're thrilled. It's an incredible coincidence that we want to build our theatre on the site of Shakespeare's first playhouse. It unveils a secret past.”

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