0769Orestes

T.S. Eliot, The Family Reunion, tragedy (New York: Harcourt, Brace; London: Faber & Faber, 1939). Harry parallels Orestes pursued by the Eumenides. A textual play adapted for stage by Peter Brook at Phoenix Theatre, London, 1956.

Eumenides [translated] into Christian terms. It is a story of Harry (Orestes) returning home to fulfill his mother Amy's dreams of his taking over the house, Wishwood. ... Harry sees Furies, but gradually they become inspirational and are turned into Eumenides. Harry leaves in search of a type of spiritual expiation. This is a modern Freudian and Christian myth, mingled with ancient tragedy."
— M. McDonald, The Living Art of Greek Tragedy (UIndiana Press, 2003), 26.

I would be more careful than McDonald: The play is clearly structured of Greek tragic elements: composed in verse, punctuated by choral observations, and topics such as guilt and ancestral resentment. The Eumenides, pursuing avengers, are seen only by Harry, his servant, and Agatha, though other characters are aware of his claims to see them.
While Harry can clearly be seen as a derivative of Orestes, much of the rest of the play lacks points of contact to the Oresteia sufficient for it to be regarded as an adaption of that Greek ancestor.