Filicide Effects: Genesius Guild's “Iphigenia in Aulis,” at Lincoln Park through July 2

Ancient Greeks invented Western drama. The poet Thespis was supposedly the first actor. ("Thespians" ... get it?). He's also credited with inventing dramatic tragedy, though centuries of fireside storytellers would disagree. Euripides was one of the three "greatest" Greek playwrights – although in fact, works by the Big Three are the only ones that survived time intact. (So choose sturdy paper for your masterpieces.)

Euripides was pretty good nonetheless, and his tragedy Iphigenia in Aulis is Genesius Guild's current offering in Lincoln Park. Director Dee Canfield and assistant director Mischa Hooker are accomplished actors, and know this stage, the material, and this mythos very well. They've assembled a fine production – one absorbing and enjoyable for everyone, whether you're a Greek geek or not.

Euripides wrote this around 407 B.C., and the material took me back – not back that far, but back to the 1980s, when I did the Hellenistic thing on this stage. Also when, having had free time between classes, I got hooked on General Hospital. Improbable situations, deceit, betrayal, accusations, 180-degree shifts in attitudes – they're all here. I imagine the original audience ate it up then with as much gusto as I did on Saturday's opening night.

This performance started a bit tentatively; some cue pickups were slow, and I lost words occasionally behind the actors' masks. (By which I mean theatrical, ancient-Greek masks, not germ-protective ones.) The huge, stylized painted faces, now, as then, enable even those in the way-back to see who's who on stage, but do squat for projection. These particular masks, designed by Jacob Lund and fitted by Bob Hanske, are colorfully stunning, and they helped this nearsighted spectator distinguish between characters. And after the opening minutes, the actors' voices got louder.

Quick Iphigenia in Aulis backstory: King Agamemnon is starting a war because Paris, a dude from Troy, ran off with the already-married-to-a-Greek-guy hottie Helen. (This pair aren't onstage, but people talk a lot of smack about Helen, so it helps to know who she is.) On his way to the coast, Agamemnon kills a stag for lunch. Unfortunately, the animal belonged to the goddess Artemis, who says, "Anxious to go to war, soldier boy? Well, I told the wind not to float your boats to Troy. But you can go if you prove how sorry you are by killing your daughter Iphigenia." (I'm paraphrasing, and hey – it might've been an oracle making up this crap.)

Alan Gardiner-Atkinson's stance as Agamemnon is imposingly monarchical as he opens the show with his inner debate. As king, he has to do right by his people. (Don't know how war would help Greece, but wars have been started for stupider reasons.) But as a father, he has to protect his child. Although I do feel for Agamemnon, I would've liked to see more paternal anguish during at least some of this speech. Considering he's alone, he'd be free to break down.

Lund, an always-entertaining actor, portrays the trusted Servant – no name, and unlike everyone else on stage, no shoes; but all service. Agamemnon uses him in a very cruel plan to lure Iphigenia, but changes his mind. Several times, in fact. Guild veteran Kathy Calder plays Queen Clytemnestra, who learns of his plot and does well standing firm, deflecting his insults, and lobbying back his dingbat justifications for filicide.

Kate Farence, who has directed and acted in acres of classical drama, plays Iphigenia with an extraordinarily innocent young person's psyche. Through her portrayal, I pitied Iphigenia even beyond the words of her scripted dialogue. Mark Garden plays Agamemnon's hot-headed brother (and Helen's erstwhile husband) Menelaus, who toasts Agamemnon for his daughter-throat-slitting plan. Joe Sager, as eager warrior Achilles, enters looking for Agamemnon with perfect "Where is your manager?" energy. Garden and Sager are delightfully satisfying in their convincing, lively portrayals, bitch-slapping the king as I yearned to do.

Melita Tunnicliff is the Choragos, head of the chorus composed of Olivia Akers, Erica Heiselman, Karen Riffey, Liz Sager, Julia Sears, and Wiz Woolley. In Greek drama, the chorus doesn't sing; they speak as commoners about the royal and half-divine folks' doings. While observing, their silent absorption in the action effectively added to the story. On Saturday, however, there were times in which a chorus member pulled focus by fidgeting. Yet they were lovely visually, guided by chorus assistant Stephanie Burrough and clad in Ann Whitaker Reid's garb of drapey green fabrics. The others were equally gorgeously (but more richly) arrayed, thanks to costume designer Shannon Ryan.

This tragedy is no dramedy, but some lines, mostly about women and marriage, prompted chuckles. One bit is worthy of a cheesy sitcom, which I'm pretty sure Euripides (or a translator or adapter) intended to ease the heaviness. Like when – paraphrasing again – Iphigenia says, "Gosh, travel is fun!" and Agamemnon replies, "Yes … you'll be going on a long journey soon.”

I recommend Iphigenia in Aulis as a wonderful way to spend an hour-and-a-quarter. You might want to roll your modern eyes at the old plot, but it's as plausible as any soap story you could name. In Greek mythology, the story gets even better the longer it goes on. Wait'll you find out what happens to Agamemnon and Clytemnestra.

Genesius Guild's Iphigenia in Aulis runs at Lincoln Park (1120 40th Street, Rock Island IL) through July 2, and more information is available by visiting Genesius.org.