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The mad cap staging of The Greek Mythology Olympiaganza left the actors gasping for breath, after an hour-long marathon performance at the Coterie Theatre that covered thousands of years of myth—and the last forty years of pop culture. Following a script by Don Zolidis, the cast channeled cultural superstars from Greek gods and heroes to modern music idols and iconic movie characters. By putting the myths into a contemporary context, ancient tales came to vibrant, Pantone-colored life.

Last weekend’s performances were the culmination of a new venture from the Coterie and UMKC Theatre. Over the previous five weeks, the combined companies had taken this show on the road to some 20 different schools, the first such touring production from these organizations to target audiences from 5^th to 12^th grades. In an era of declining support for arts education, this initiative adds a welcome injection of theatre arts into local curriculums. The show was well received in the school environments, and the audience on Friday night—about 60 percent adults—enjoyed it as well. 

Though marked by elements of improvisation and creative chaos, this was a tightly constructed play that convincingly presented traditional mythology on an untraditional canvas. The story lines brought flexible interpretations to classic myths from an emo-rocker Orpheus to a Real Housewives­-esque Medea and the Sirens represented by a batch of Barbies—and all through a zany conglomeration of singing, dancing, mime, and puppetry. 

Coterie Education Director Meghann Henry directed, and, on this night, also stepped in to cover a role normally played by Samra Teferra; the balance of the cast consisted of Francisco Villegas, Eric Graves, Rufus Burns, and Andrea Morales. Glib banter, high energy, continuously shifting action, and an absence of the traditional “fourth wall” created a flurry of scenes that came together fluidly with a vibe reminiscent of The Complete Works of William Shakespeare (Abridged). Each actors was responsible for a multitude of characters and effectively used varying accents, gestures, and visual clues and props to indicate the rapid alternations.

On the sidelines, Production Stage Manager/Light Board Operator Yinelly Arnold and Assistant Stage Manager/Sound Operator Alexander Murphy contributed to the quick-fire changes that helped set the various scenes, with light and sound design by Eric Voecks and Daniel Warneke, respectively. 

The inventive props, by Ron McGee, referenced what a child might cobble together from toys and household products in the course of pretend play (an important component both in theater and creativity development). Gigantic puppet heads, both formidable and humorous, represented the many gods and goddesses one expects at the core of any discussion of Greek mythology, and also alluded to the traditional grotesque masks of classical Greek theatre.

This imaginative sourcing was also noticeable in the costumes, designed by Allison Dillard.  In a modern twist on traditional Greek garb, the actors wore jersey fabric togas and tunics, t-shirts emblazoned with screen printed muscles, and knee high Converse sneakers. A abundance of wigs, hats, masks, capes, swords, and shields further helped to indicate the shifts from character to character.

The Greek Mythology Olympiaganza made mythology accessible and memorable, exciting and modern. This show would work very well as either an introduction to or a quick refresher on Greek mythology (without standing in completely for a full course in it), and the Coterie provided resources on its website to help teachers prepare their students for the production.  These ranged from a series of videos, which explain aspects such as costuming choices and the actors’ perspective on their roles, to online games, curriculum tie-ins, and lesson plans. They helped cement the cultural and literature messages of the play.   

At least one young audience member Friday night was prepared, as she volunteered to a seemingly lost Orpheus that Hades was in the underworld. Graves, who played Orpheus, took up the cue and further questioned her about the best way to get there. Moments like these, that involve the audience in the story, are what can change a child’s perspective of what theater can be and how a story can be told. This production, visually intense and obviously a good time for the performers, was a stimulating example that both validated the classics and created a new way of considering them for audiences young and old.

REVIEW:
Coterie Theater
The Greek Mythology Olympiaganza
Ran March 4 through March 6 (reviewed March 4)
First floor of the Crown Center Mall
2450 Grand Boulevard, Kansas City, MO
For more information, call 816-474-6552 or visit www.coterietheatre.org

Top Photo: Pancho Javier, Eric Graves, Samra Teferra, Rufus Burns, Andrea Morales in the Coterie Theatre's Olympiaganza (Photo courtesy Coterie Theatre)

By Libby Hanssen

Traditional and New Classical, Theatre Contributor

Libby Hanssen holds degrees from University of Missouri-Kansas City (M.M.) and Ball State University (B.M.) in trombone performance and also studied music education at Indiana University. She has studied trombone with Carl Lenthe, JoDee Davis, John Seidel, John Huntoon and Denis Wick, and music education with Brent Gault, Estelle Jorgensen and Katherine Strand.

While at IU, she taught classes in general music, focusing on listening skills and music fundamentals through practical music usage and exploring new sound constructions. During the course of her studies at UMKC, she performed with many ensembles, including the Conservatory Orchestra and Musica Nova. She has also performed with the Kansas City Puccini Festival, the People's Liberation Big Band of Greater Kansas City, the New Jazz Order, the Indiana Wind Symphony and the Muncie Symphony Orchestra.

In 2010, she was a fellow (one of 23 journalists selected from across the US) for the seventh annual National Endowment for the Arts (NEA) Arts Journalism Institute in Classical Music and Opera at Columbia University’s Journalism School in New York City.

Most of her free time is spent with her three boys (son, dog and husband) and camera, exploring the many fine aspects of Kansas City living. She enjoys listening to KKFI - Kansas City Community Radio and KCUR - Kansas City's NPR station, visiting Kansas City's fine collection of museums and galleries, and scavenging in thrift and antique stores to add to her collection of toy instruments.

She writes for the joy of words and the process of constructing a story, maintaining the blog Proust Eats a Sandwich (www.prousteatsasandwich.wordpress.com). She is working on her first book: Murray Goes to the Nelson-Atkins Museum of Art.