Somewhere along the lines of history, wordplay took its toll on the Trojan War. In Mill 6's production of "The Trojan Whore," we see "what really happened" (unlike the Brad Pitt/Orlando Bloom saga): a mix of witty marketing, odd gods, and some kooky characters. Although it contains some funny moments and cleverly acted personalities, this parody borders on clich?© at points and takes a plunge in the second act.
Written by up-and-coming playwright Sean Michael Welch, "The Trojan Whore" is meant to be a relief from the dry and dramatic renditions of classical tales that have been floating around lately. Basically, it contends that the war was not fought for just some pretty girl - it was actually a marketing strategy created by Todd Harper, Agamemnon's craftily Americanized political consultant (in conjunction with a certain record-keeper, later to become Homer.)
Although entertaining at times, the humor here is not anything deep; it is comprised of a lot of situational comedy, a bit of slapstick, some cross-dressing-the usual. A sliver of aptly-placed satire of contemperoray politics could have done wonders; there was a hint here and there, but it was practically lost amid the zaniness.
Throughout the show, the characters find themselves facing such pressing dilemmas as: Do the gods really talk to mortals? Did Achilles steal Todd's girlfriend? Is Agamemnon a bit dim or just really confused? And does Todd really sleepwalk at night dressed as a woman?
To their credit, the actors in "The Trojan Whore" didn't have much stage to work with as the Devanaughn Theater is not exactly the toast of the Theater District. It is actually a basement - not an easy one to find at night, either - with three rows of seating, located in the back of the Piano Factory on Tremont Street. However, despite the lack of a real stage, the actors managed to portray each comedic personality with wit and consistency.
The actors' stage presence and movements used the space well. Particularly fun was Irene Daly as the Oral Stenographer - i.e., the official record-keeper for the kooks in charge of the war. Her vocal intonations alone were enough to induce laughter, though at first you might not even notice her. Daly found a first-rate comedic balance between appearing in the background at the beginning of the show and then taking center stage at a moment's notice.
Lonnie McAdoo, as Agamemnon, was also an interesting personage. The sheer boom of his voice more than managed to fill the three-row theater. Moreover, he was so comfortable playing the king, fully oblivious to his own cluelessness, that one would think McAdoo has a side job reigning in real life.
Todd, played quite well and naturally by Jason Myatt, is the central character. He is the sort of smarmy fast-talker that is seemingly ubiquitous in the corporate world, so by the end of the show one is left with an even more profound dislike for publicists and marketers than usual. The other personalities - Sean Barney as Odysseus, Tony Dangerfield as Nestor, Antoine A. Gagnon as Menelaus - had shining moments as well. Overall, the cast interacted well as an ensemble, but this collective energy was undermined by a script that at times felt flat and forced. Each character had a distinctive personality trait that was played up for comic effect, but character development in the work itself was minimal. This is, of course, a farce comedy, but there was nevertheless a notable lack of depth, and too much mood vacillation during the second act.
The first act was amusing: we meet the Greeks (who aren't so mighty after all) and discover their idiosyncrasies as well as the true circumstances leading up to the war. But in the second act-during which the war is "happening," we learn what is going on through the eyes of the characters. Various subplots, where Todd impersonates a god and Achilles' sexual orientation is questioned, seemed out of place and turned into overkill. One starts to forget exactly what each character's goals are by the latter half of the second act, and the ending does little to reassure the audience. The war drags on for ten years-and it certainly feels like it.
Although some aspects of this production-namely a few nicely delivered punch lines, use of stage, and the ensemble work of the cast-come off very well, the piece does not do justice to the actors' comedic potential.
