"As presented by Hunger & Thirst Theatre, Mark Jackson's 'Messenger #1' is a modern adaptation of the Greek trilogy by Aeschylus which reinvents the tale for contemporary audiences. With a cast of six superb actors, Hondo Weiss-Richmond's brisk and lucid production is both gripping and provocative and makes these old myths seem new again."
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"Truly a most original and ingenious take on 'Oresteia'…’Messenger #1’ is without a doubt a massive accomplishment. It keeps the essence of the classic Greek plays while making them easy to digest for a 21st-century audience, and it tells a timeless, recognizable tale from a refreshing and topical point of view. It is a truly empowering piece of art—because it tells the truth, and it shows a way to make a difference."
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“A terrific production…The ensemble acting is so fine that our sympathy lies with them, all fully developed, all compelling…The direction by Hondo Weiss-Richmond is clean, clear and imaginative...Mr. Jackson’s dialogue is a careful and clever mix of what falls on the ear as classical...Nothing said is out of place; we are drawn into this new drama which has strong classical chops…There’s much here to consider in this intellectually and physically muscular production.”
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“An innovative dark comedy/drama…’Messenger #1’ has a lot of themes which are still relevant in 2017…Whether the youthful cast engages in simmer-and-seethe expressions of passion, or over-the-top, grand movements, the acting is excellent. The script mixes the indulgently quaint style of ancient Greek translation with some equally indulgent anachronisms…The conclusion of 'Messenger #1' is heavy... but in keeping with the play’s political themes, it’s tragically realistic."
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"It begins with Jackson's inspired prose, an effortless fusion of ancient Greek poetic oratory and modern slang...It is the empathetic performance of the three messengers, caught in a whirlwind of tragedy not of their own making, that grounds us in this ancient story of love and loss...Director Hondo Weiss-Richmond's staging makes great use of the small performing space...This is a play that is unafraid to be theatrical, though some elements are more successful than others."
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