This isn't your parents' Greek mythology. The American Repertory Theater's (A.R.T.) production of "Prometheus Bound," a new rock musical adapted from the Greek myth of the titan Prometheus, challenges notions of traditional musical theater, storytelling and social justice.
The Prometheus Project, a partnership between the A.R.T. and Amnesty International to bring theater arts to the service of human rights advocacy, incorporates conscience into performance. The production hails Prometheus, an activist and martyr imprisoned for opposing tyrannical authority, as the original prisoner of conscience. Following the classic myth, Prometheus delivers fire to humans and enrages Zeus, who orders him to be bound to a cliff where an eagle eats his liver eternally.
The Prometheus Project is upfront about its promotion of Amnesty International. The nonprofit's volunteers fill the lobby, informing the audience about Amnesty's work and presenting petitions. The Prometheus Project additionally dedicates "Prometheus Bound" to current prisoners of conscience. The dialogue speaks directly of morality, power and punishment such that, out of context, the actors could be addressing today's rebellions in the Middle East.
"Prometheus Bound" revives its ancient message with a modern aesthetic. OBERON, a small club that functions as the A.R.T.'s second stage, feels comfortably casual and Kevin Adams' lighting design appropriately incorporates club lights into a theater setting. Emily Rebholz's costumes, characterized by studded belts and excessive eyeliner, turn the Greek chorus into a group of rebellious, subversive teenagers.
Modern interpretations of traditional elements transform ensemble members into characters with distinct personalities. Hermes' winged sandals in this production become golden winged high−top sneakers.
Although Prometheus is physically bound, the actors and the audience explore the space freely. Riccardo Hernandez's sparse set features moving platforms, which direct the audience's attention around the room. The OBERON consists almost entirely of standing room, so the audience easily clogs the dance floor. The actors dance, climb ladders, stand on tables and occasionally occupy a small stage. Like Prometheus, the stagehands hide nothing: As integral members of the performance, they wear dark clothing to fit the show's aesthetic, rather than to become invisible.
Composer Serj Tankian's music contrasts Prometheus' struggles; his six−piece band stretches the definitions of rock and musical theater with instruments ranging from the guitar to the sitar. Tankian's score is appropriately diverse and avoids repetition by exploring ska, string ensemble and wind arrangements.
The lyrics, unfortunately, fall short and are consistently underwhelming. Writer and lyricist Steven Sater of "Spring Awakening" (2006) conveys little in his lyrics, at least not when they're audible. Granted, "Prometheus Bound" is a rock musical and the volume is accordingly loud, but even less−than−pithy lyrics should be discernible. Although the lyrics don't detract from the story, they leave the audience hungry for stronger writing.
Gavin Creel (who received a Tony nomination in 2009 for his role as Claude in "Hair") consistently impresses as the imprisoned Prometheus. The role, however, hinders Creel's emotional range, granting him almost solely angst and rage−filled lyrics. While he executes these emotions excellently, in speaking and singing, the writing does Creel a disservice and robs him of a potentially dynamic role.
Several ensemble members stand out in addition to Creel. Uzo Aduba, who plays Io, one of Zeus' love interests, emotionally grips the audience as she shifts from storyteller to confused victim. Gabriel Ebert as both Hephaistos, the crippled blacksmith, and Hermes, the cheeky Olympian messenger, transitions seamlessly from chorus member to character. The actors' fluidity as they shift characters contributes to the venue's anything−goes aesthetic.
"Prometheus Bound" is a worthwhile musical theater experience, challenging both notions of social justice and theater. While the lyrics lack power, the cast and creative team excellently execute the material. Allowing actors, audience and stagehands to roam freely adds a sense of lawlessness to the production. For an open−minded theater enthusiast, this project provides an unconventional theater experience and plenty of food for thought.
