In 1975 the distinguished German playwright and director Heiner Muller suggestively commented: ‘In the century of Orestes and Electra, which is upon us, Oedipus will be a comedy.'1 That Muller should refer to ‘the century of Orestes and Electra’ being ‘upon us … ' is startling. For although the first part of the twentieth century can boast some notable adaptations and revivals of the ancient plays centred upon the House of Atreus, it is not really until the final part of the century (from 1980 onwards to be precise) that Orestes and Electra could be said to have dominated the repertoire.
