The Oresteia Review at the Bridge Theatre London

If you’re unfamiliar with the source material, The Oresteia is the only complete trilogy of plays to survive from Ancient Greece. Written by Aeschylus and first performed in 458 BCE, it’s widely regarded as one of the greatest works of classical theatre and has influenced countless playwrights and adaptations over the centuries. Now, at The Bridge Theatre, Australian writer and director Simon Stone transports these ancient tragedies into the twenty-first century.

Reimagining The Oresteia as the story of a modern family, he strips away the robes, gods and mythology to reveal the deeply human conflicts at its core. By doing this, he transforms the plays into something unsettlingly familiar, where every fractured relationship and moral compromise feels entirely believable.

For The Bridge Theatre, Simon Stone directs a star-studded cast including Tony Award-winning actor Mary-Louise Parker (The Institute, Weeds, Proof) as Montie. Parker is outstanding as a mother consumed by grief and anger, completely commanding the stage with a performance that keeps the audience captivated.

As her husband, Christopher, David Morrissey (Tip Toe, The Walking Dead, Sherwood) gives a haunting performance as a father weighed down by guilt. Morrissey portrays a man struggling to hold himself together, creating a deeply flawed yet very human character.

As their son Augie, Tom Glynn-Carney (House of the Dragon, Dunkirk, All My Sons) is utterly compelling. He takes the audience on a chilling journey from vulnerable teenager to a man driven by revenge, bringing a frightening intensity to the role that leaves the theatre stunned. Rosie Sheehy (Guess How Much I Love You?, Black Doves) delivers a quietly powerful performance as Alice, capturing the character’s warmth, vulnerability and strength as she navigates family loyalty, grief and the chaos surrounding her.

As Christopher’s brother, Melville, Lloyd Hutchinson (Dear England, House of Guinness, To Kill a Mockingbird) brings a grounded authority to the role of a man determined to protect the family name at any cost. John Macmillan (House of the Dragon, Chewing Gum) gives a nuanced performance as stepfather Jerome, revealing the cracks beneath his confident exterior as his relationships and ambitions begin to unravel.

As Jerome’s son Lorenzo, Archie Madekwe (Saltburn) is sensational. Vibrant and emotionally honest, he creates a character full of warmth and authenticity as Lorenzo’s attraction to Augie unfolds and he is forced to confront the devastating events around him. Alyth Ross (The Woman in Cabin 10) brings vulnerability and quiet emotion to the doomed Jenny, while Rakhee Thakrar (Sex Education) gives an affecting performance as Chandra, capturing her humanity as she becomes drawn into the family’s unfolding tragedy.

Set within the family’s upscale modernist house in Kent, spanning the years 2016–2026, set designer Lizzie Clachan faced the challenge of creating a space that could evolve across time periods while also reflecting the family who inhabit it. She rises to the challenge with a striking two-storey revolving house that dominates the Bridge Theatre stage. Immediately impressive and imposing, the set becomes almost a character in its own right, mirroring the family’s gradual breakdown and the fractures that emerge over the course of a decade.

The Oresteia at The Bridge Theatre is a masterclass in acting, with an exceptional ensemble cast. True to a Greek tragedy, this is a production filled with betrayal, revenge and plenty of blood and Simon Stone does not shy away from the brutal consequences of the family’s actions. With its stunning design, powerful performances and a story that keeps the audience captivated from beginning to end, The Oresteia is a must-see for anyone looking for theatre that is both thought-provoking and unforgettable.

The Oresteia plays at the Bridge Theatre until 19 September 2026.

Where I Sat

For this production, I was sat in the Stalls, J27. While the seat itself felt a little tight, the generous legroom was much appreciated. I had a clear view of the stage throughout, although I did find myself wondering how the production looked from the Gallery, as those seats sit almost level with the second storey of the family’s house. Despite The Bridge Theatre being one of London’s more modern venues, the lack of air conditioning in the bar area and very little in the auditorium made conditions quite uncomfortable, particularly during such a lengthy production. Running at around three hours, the two intervals were very welcome, giving the audience a chance to step outside, get some fresh air and enjoy a much-needed cold drink.

Have You Seen The Oresteia?

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Reviewed by Stuart James for SeatPlan, July 2026