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'Greek gods' enhance myths with thunder
By ERLEEN CHRISTENSEN
Guest Reviewer
Tales from Olympus by Marie Willis
Directed by Ronald A. Williams
Scene and Lighting Design by Delbert
Unruh
Performances in the Inge Theatre 11
a.m. July 23, 24, 25
An opening burst of lightning and thunder leads into three action-packed tales of the Greek war of the gods, the creation of man and the animals, and the gods' dubious gift of Pandora and her box, keeping young and old entertained until "Tales from Olympus" closes with narrator Hesiod saying, "I can't believe the world will ever forget them." Given a local playwright Marie Wil丝' lively script and her husband Ronald's excellent direction, those who see "Tales from Olympus" certainly won't forget the Greek gods.
The separate tales are woven into a whole by the narration of Greek poet Hesoid. Cringing at Zeus' thunderbolts even as he explains the gods as past history, director Willis plays the poet with a convincing combination of belief and disbelief that the audience soon shares.
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James Olson plays Epimetheus with the sneaky delight of a child doing what he shouldn't. When he is joined in the last tale by Pandora, played with a wide-eye naivete by Lorraine Millburn, every child, past and present, is caught up in their curiosity about THE BOX!
awakening with bird-or giraffe-like qualities as Epimetheus breathes on them.
A booming sound track distorts the narration of the war of the gods, but that hardly bothers an audience caught up in watching human-like Olympians defeat Titans wearing huge, grotesque masks. Even those who don't know who's who on Mount Olympus have their Greek gods trained after wake at the hiljinks of pouty Dermeter, scatter-breasted Hestia and distributed Poseidon, who can't guess he's to be lord of the sea in spite of a game of celestial charades that has gods swimming and rowing all over the stage.
Willis uses his simple stage effectively, moving the gods from rooftop grandeur to a center-stage platform as the household politica of Mount Olympus, wearing a grey sweatshirt and a laque of golden leaves, plays an engaging Zeus full of youthful zest and delight in his powers. But as Zeus attempts to maintain his dignity and keep order in the city, he leaves us with the unfortunate feeling that the gods are doomed because they gave a boy a man's job.
The play is well-paced and the action lively and entertaining. The dialogue is often deliberately colloquial—Dermeter sounds like the proverbial Jewish mother, Hera like a "whatever you say, dear" housewife and Hopheastus brings down the house with his overuse of "Trust me!" he creates Peddocks.
The leftover Titans, Prometheus and Epimetheus, steal the show as the fun of creating distracts them from the job of cleaning up the mess the gods left on earth. Mark Robertson plays Prometheus, who has a child-like absorption in making creatures out of the clay in the riverbed he is to clean. The creatures themselves do a magnificent job of turning from lumps to forms—
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Marie Willis' play doesn't quite make the statement about the relationship between gods and men which it promises for human gods, or really human gods never fall to entertain.
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