California Western University - Loma Del Mar Yearbook (San Diego, CA)

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Broadway Director Stages Greek F estiva1's 'Royal Perhaps the greatest story of conquest in his- tory, that of the Peruvian Inca empire, was de- picted in the School of Performing Arts' San Diego Greek Theatre Festival during the summer quar- ter with the stage production of Peter ShafTer's The Royal Hunt of the Sun, Under the direction of Broadway director Randall Brooks, and utilizing the extraordi- narily spectacular Inca costumes from the original Broadway production, The Royal Hunt is easily the best offering the Greek Festival has produced. K'Royal Hunt' portrays a company of 167 men under the leadership of an illegitimate mer- cenary, Francisco Pizzaro, conquering an empire of 24 million and destroying one of the most amazing civilizations of all time. The principal antagonists in this struggle were Pizarro, an old man over 60 years of age, and Atahualpa, the Inca god-king, who represented the pinnacle of pre-Colombian civilization. Super- stition and technology, of course, played an im- portant role in the destruction of the South Amer- ican empire, but more importantly it was a conflict which pitted the dynamism of European culture at the dawn of modern history against the spiritu- alistic and complacent confidence of a people who felt no need for the violence and covetousness of 16th century Europe. Rirlmrzi Cfiztemiozz, of Afrzbualpu the God-King, Mandi amidrz the mrnage at lefl of the fimulolezl' marmfre of tloomondr of Peruvian Imiiam, Belouu toe expedifion it Hatred by life Church ami en- lreoled Zo conquer lbs ,fozfogef for Meir own god.

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Oreiter KG1lberl Savage! if driven mm bu land by a fbmur 0 Furler in lbe Greek Fefzwal J zragzc zrzlogy. Marks Tragic Trilogy The Oresteiaf' the sole surviving Greek dra- matic trilogy, was performed in Gal Western's Greek Theatre Festival from July 14- through July 31. The trilogy by Aeschylus includes The Aga- memnon, The Libation Bearersf' and The Eu- menidesf' The story of The Oresteian revolves around the triumphant homecoming of the conqueror of Troy, King Agamemnon. Unknown to him, his queen, Clytemnestraf' and her lover, Aegisthus, have conspired to murder him. The second part of the play concerns the clandestine homecoming of Orestes who is return- ing to avenge his father. With the help of Electra, he murders their mother and Aegisthus, but not before Clytemnestra has cursed Orestes for his acts of vengeance. As if in answer to her curse, a chorus of Furies descend on Orestes and drive him from his land. The third section of the play is essentially the refutation of the chorus of the Furies by the gods and the people. Orestes is brought to trial, where he is defended by the god Apollo and the case is heard by the goddess Pallas Athena and a group of Athenian citizens. He is set free because he has suffered for his crime and the curse on the House of Atreus has been expiated. Cast in the pivotal role of Clytemnestra was Anne Archer, opposite her, as the vengeful Orestes, was Gilbert Savage in his first major role for the School of Performing Arts. -

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