Agamemnon

I purchased this book for its inclusion of Berkoff's small-cast adaptation of Poe's "The Fall of the House of Usher," to be produced as part of a city-wide "Evening with Edgar Allan Poe" which I was to direct. I was maybe six pages in when the full horror of what I'd gotten myself into struck me.Let me state that adapting this story into a full-length play is no mean feat. Poe's original text is all of 18 pages or so, little of it dialogue; Berkoff's script is estimated to run about 70 minutes. That said, to someone used to working on typical scripts written in some semblance of standard format, reading through this version is like watching a production of "Godot" in Xhosa: It's marginally familiar, but mostly bewildering.Berkoff's adaptation is highly stylized in ways with which any art-house patron will connect. Dialogue is minimal, which lends heavier significance to each word and heightens the sense of despair and gloom essential to the story. But conversely it seems almost to take a back seat to physical performance. Mime plays a strong role, trading on Berkoff's training in that art (IIRC he also directed and starred in the premiere production), which may or may not work depending on the location of your own production and available talent. New York, Los Angeles, Chicago, and San Francisco (among others) have environments conducive to mime and other such performance arts; Peoria, Muncie, and East Weewah...not so much. Thus, while many of the conventions--such as Roderick and Madeline Usher representing the architecture of the titular House with their own bodies--can be accomplished with non-mime performers, there are others that may not work out for both physical and conceptual reasons. Many of these are detailed in Berkoff's copious directing notes. For example, in the scene where Roderick looks in on Edgar (the old friend who is unnamed in the original story) during a storm, the tempest is represented by Roderick violently twirling a black cloth or paper banner on a stick. The Director will have to decide if such conventions will be appropriate for their production.Berkoff's notes bear a mention all to themselves. Typically such notes will cover a couple-three pages at the back of the script book. Not so this one. Only the right-hand pages are used for the script, while his notes cover the left-hand pages. It's difficult to tell--from ANY aspect of this publication--if Berkoff is being serious or sarcastic. My guess is both. I offer as evidence the opening scene, in which Madeline is already lying, apparently dead, on her bier as the Doctor enters to examine her. Per Berkoff, it should take the Doctor a good five minutes to make the journey and place the stethoscope to her breast--at which time Madeline delivers a scream that "should end the life of at least one member of the audience." That's just on the first page.The bottom line here is that this is not a beginner's play at any level. Format, notes, and heavy mime influence aside, there just aren't many resources available to assist. In an attempt to find some guidance and inspiration I located reviews of a small handful of productions, evenly split between "amazing show" and "WTF?" This conflict is represented by the two versions I could find on YouTube.So if you're considering producing this, be cautioned. This adaptation offers many rich opportunities to create a unique and unsettling experience for your audiences, but navigating the murky, treacherous maelstrom of Berkoff's script and vision is itself an experience worthy of Poe.

I know both Usher and Agamemnon in their original or translated form and Berkoff has animated and deepened them in adaptation. I couldn't grasp them as written, perhaps they were too far away or aimed at an audience with different sensibilities, but the stories leap off the page in his tellings. Usher in particular, the one I am concentrating on, having seen him perform it some years ago, is driven by an irresistible theatricality, a fusion of Berkoff's training and skills. I have always appreciated his work as an audience and this book confirms him as one of the really important explorers of form since Brecht.

Love the two plays in this collection, a must for any Berkoff fan....tried to but an additional copy but it never arrived (full refund from the seller!) but will look out for it again. These two plays represent, for me. 'classic' Berkoff and they both really challenge performers to grapple with Berkoff's intentions - particularly 'The Fall of...' which is not as straightforward as it looks!

I was pleased with this purchase - arrived as spromised and good quality and good service

I got it for The Fall of the House of Usher, in order to study Berkoff's idiosyncratic style. I haven't read Agamemnon yet, but I liked Usher, although I didn't feel the strange stage directions added anything.

I bought this updated version for work with students. For some reason Berkoff can be difficult to come by. This item was as described by the seller. Pleased