I have chills. AHHH!
As someone who's always rooted for Clytemnestra, this piece is something I needed to read. Elisabeth Giffin Speckman puts The Oresteia into modern perspective and finally lets the women have a say. And in the end, it's femininity that gives our queen the final word.
I am in love with the experimental structure and the artistic ambiguity that provides so much space for actors, directors, and designers to play.
What a powerful piece. If I ever got the chance to see or work on this play, it would be an honor.
Love it!

2022-23 Salon Reading Series Selection.
Good myth-flipping, that is well constructed and effective, allows an audience to see a different perspective on the story while maintaining a connection to the core myth. Cloaked in a darkly comic structure, Clyt leads her audience through her story with the quiet indifference of a woman who knows her choices and her rationale. Speckman’s Clytemnestra is a minor character whose motives, injustices and injuries are thrust center stage as we watch her struggle with her building rage. It is the best kind of flipping and is a marvel to watch.

CLYT, an astonishing retelling of Agamemnon from the perspective of Clytemnestra, is an exploration of feminine rage that grows, secretly, inside women who are often ignored and forgotten. This Clytemnestra is a woman overshadowed by her sister, subsumed by duty and motherhood, seeking solace (and perhaps rebirth) in her bathtub, who is pushed over the edge by a casually vicious betrayal. Speckman’s visceral imagery and poetically brutal prose make her play an electric read.

CLYT is beautifully crafted, uniquely theatrical, and powerfully told. Like Clyt herself, it demands to be heard.