Take feminism, existentialism, some unnervingly timely socio-political commentary and a bit of anarchy, put them all in a blender with a base of Greek mythology, then hit puree.
Quite a mess, right? Not necessarily.
These were just some of the ingredients in University Theatre’s latest concoction, Hella Haasse’s play “A Thread in the Dark.” The result is a surprisingly accessible and entertaining production.
The Dutch play — a feminist revisitation of the famous Greek myth concerning Theseus and the Minotaur– was first performed in Holland more than 30 years ago. For those whose knowledge of Achaean mythology is a bit rusty, Theseus (played by Eli Levine), the prince of Athens, is sent to the island of Crete as a prisoner of war. On the island, Minos, the King of Crete (played by Jon Sharpy), has an inescapable labyrinth — constructed to house the Cretean god Minotaur — into which prisoners of war are thrown as sacrifices. Theseus is said to have slain the Minotaur and escaped the labyrinth with the help of King Minos’ daughter.
Turning the story’s original themes of power struggles and masculinity inside out, the play asserts the Minotaur never existed and instead postulates that it was simply a fabrication to augment the power of Crete.
The myth also is also used as a narrative framework to explore issues of political exploitation and power structures through the characters’ attitudes and actions toward the Minotaur. Focusing on the struggle of Minos’ eldest daughter Ariadne’s (played by Erica Smith) attempt to expose her father’s invention, “Thread” weaves complicated intellectual themes through Ariadne’s escape from Crete and her subsequent relationship with Theseus before twisting into the final, climactic act.
If this plot sounds remote or outdated, consider the statement, “My budget includes the largest increase in defense spending in history.”
No, this is not taken from President George W. Bush’s State of the Union address, but rather from King Minos’ explanation of his personal investment in the illusion of the Minotaur. The king — power-hungry and downright Machiavellian at times — strikes an uncanny cord in America’s current political environment. Don’t be thrown by the premise of a feminist revisitation of a Greek myth; the play has plenty to offer even if you’re not a classics or women’s studies major.
The themes of modern political allegory are clear from the play’s beginning, and in large part the parallels to modern day succeed. However, the language is at times heavy-handed. For example, the pronunciation of Cretean “bull-games” is suspiciously similar to “ball-games,” and the references to white houses and standards of living are glaringly anachronistic. Still, the play’s examination of complex political and moral issues is intelligent.
Though “Thread” is thought-
provoking, it still contains a sense of humor. This is accomplished particularly in the final acts when the conflict focuses into a lofty examination of the importance of truth. Performances in the first act by Sharpy and Connie Hymer as the Nurse are enthusiastic and breathe fullness into their potentially flat characters.
In the second and third acts, the characters grow more complex, and the talents of the performers begin to dominate the show. Levine is appropriately solid and simple as Theseus, while Margie Kment steals entire scenes as Ariadne’s pouty and manipulative sister, Phaedra. At points, the chemistry between Kemnt and Levine is laugh-out-loud funny, providing a welcome escape from otherwise dour characters.
Most impressive, however, is Smith’s treatment of Ariadne in the leading role. Ariadne’s progression from fearful innocence to self-righteous excitement to resentful cynicism is captured in convincing detail by Smith, whose prescience of events shift tangibly in both speech and movement, from stiff to jittery to lethargic, as the play progresses.
The set design also adds to the play’s dark atmosphere. Light-colored clothes stream from props and costumes, and black trees are painted in silhouette surrounding the Arena Theatre, creating a sinister contrast. A giant column juts impressively out of the stage’s back wall, rounding out a conceptual design which sacrifices realism to more accurately capture the atmosphere of the play. On the whole, “A Thread in the Dark” is a creative and challenging production that will inspire sympathy or animosity in any thoughtful audience. For a play that carries no pretenses of escapism or mindless enjoyment, “Thread” manages to be both entertaining and provocative and well worth the investment of a little open-minded curiosity.
The play runs tonight, Friday and Saturday, and next week it runs from Feb. 12 to Valentine’s Day. Performances begin 8 p.m. in the University’s Arena Theater, located in 104 Villard Hall. There is no late seating. Tickets are available at the EMU Ticket Office and cost $4 for University Students, $5 for University faculty and staff and $6 for the general public.