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Not much can induce me out of the house early on a Sunday morning, especially with a hungry newborn to accommodate. But Gorilla Theatre Productions’ annual summer sunrise Greek play, now in its twentieth year, is too unique a viewing experience to pass up. Performed on the south steps of the Nelson-Atkins Museum of Art, the company presented Aeschylus’ Seven Against Thebes, the next chapter in the Oedipus saga – the ancient world’s version of a Bravo reality show, with plenty of family dysfunction. 

The spacious stairway of the Nelson-Atkins provided a grand area to work with and the audience, with folding chairs, blankets and coffee in hand, arrayed themselves on either side of the Rodin sculpture that oversees the south lawn. Most of the action took place on the tier between sections, with the chorus of women arrayed below and the gods above.

Greek plays are a challenge to perform and watch performed. There’s a whole lot of talk and not a lot of action, and it’s up to the language and its delivery to make it work. The audience needs to maintain a prolonged sense of disbelief, more than typically required for a modern play. It takes more time to describe the enemy and send the champions off to war than it does to fight the battle.

Fortunately, the language of this translation is effective and timeless.

The acting wasn’t very strong across the ensemble. B.J. Allen had a firm performance as the prince Eteocles. The chorus of Theban women included of a motley assortment of skill levels from professionals to green horn amateurs. The rest of the talking parts were more declamatory than emotional, with the exception of Elissa Schrader’s Antigone in the final scene.

While a tragedy of legendary proportion – Oedipus’ offspring from his incestuous marriage to Jocasta are cursed to destroy each other – there are quite a few moments of humor. Eteocles does not display a high regard for women and offers some choice lines. But when he prepares for battle, stripping to his boxer shorts and undershirt, I shook my head. Marching off to battle in socks, polka dotted underwear and armor, which included plastic shin pads, was a ridiculous choice, especially given the gravity with which Allen performed.

The music, directed by Mark Southerland, fit well, with exotic melodies and martial percussion. Southerland performed on his bastard horn creations, Beau Bledsoe on guitar, oud and saz, and Brandon Draper on darbuka and frame drum.

The props and costumes were some odd choices and rather shabby. I’m not sure why two of the women were dressed in what looked like burkas, and I felt sorry for them in the already sweltering heat. A gust of wind knocked over one staging device and sent props skittering across the stage area, unfortunately picked up by the microphone system and drowning out dialogue.

Sound design and balance were problematic though out, with many of the extraneous sounds overshadowing the all-important language.

Seven Against Thebes won accolades when it was presented back in 467 BC. The language is everything in this play, weaving tension and beautifully evocative imagery. Even without a perfect production, the language carried through in this Kansas City tradition.

REVIEW:
Gorilla Theatre Productions
Seven Against Thebes 
Sunday July 10 at 7:30 am
South steps of the Nelson-Atkins Museum of Art
4525 Oak Street, Kansas City, MO
For more information visit www.gorillatheatre.org

Top Photo: Cast of Seven Against Thebes

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.