By John Lyle Belden
In the hands of Eclectic Pond Theatre Company, one of Western civilization’s oldest surviving plays truly becomes timeless.
“Prometheus Bound,” attributed to ancient Greek playwright Aeschylus, was based on the myth of the Titan who defied the ruling god Zeus and brought fire – and with it, civilizing knowledge – to humankind. For his “crime,” Prometheus was chained to a rock and subjected to daily torture. In the play, he is visited by characters who ask him why he committed the act and to beg for forgiveness.
In the ETC production, playing Friday through Sunday at Wheeler Arts Community Center, Prometheus is the online name of a hacker (played by Bradford Reilly) who worked for the NSA and its director – nicknamed “Zeus,” of course – to develop the all-knowing Firenet. Acting similarly to real-world fugitive Edward Snowden, the online titan makes the secret program public – giving “Fire” to mankind.
He is shackled by Hephaestus (Tristan Ross) and Kratos (Taylor Cox), now represented by the prison warden and guard. The Chorus who questions Prometheus and listens to his soliloquies is a TV reporter played by Ann Marie Elliott. Oceanus, the fellow Titan who begs the prisoner to reconcile with Zeus, is in 2016 his attorney, played by Ross. Cox also takes a second role as Hermes, Zeus’ messenger.
Prometheus also encounters Io (Elysia Rohm), a woman whom Zeus lusted after. In mythology, she was turned into a cow, today she is only called one as an epithet, and is disappeared to a neighboring prison cell.
The classic translation of the Greek drama is kept intact, so to be understandable we must take myth as metaphor, but Reilly manages to communicate well his disdain for a tyrant of any era. Ross, Cox and Elliott, all experienced with Shakespearean dialogue in a modern setting, have no trouble with this material either. I first thought that Elliott in her role smiled a bit much for such serious subject matter, but it works as a portrayal of the cynical nature of today’s media – addressing world-changing news with an incredulous grin. Rohm is effective in making us feel Io’s plight – whether as the maiden pursued by an amorous god, or an inconvenient affair that a man in power can’t let walk free.
To better understand the story and put it in a relatable context, there are several well-produced broadcast news breaks shown on a screen to the side of the simple set of Prometheus’s cell. These were helpful and fit right in with the whole concept of the play.
Director Carey Shea and company have produced an excellent fresh take on an old story, a commentary on the “gods” we may all find ourselves answering to. Find Wheeler Arts at 1035 Sanders St., Indianapolis, near Fountain Square. For information and tickets, see eclecticpond.org.
(Also posted at The Word)