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A week ago, I had the pleasure of traveling to Cambridge to see a new musical, one of Massachusetts’ best productions out now, performed by A.R.T., the American Repertory Theater.
The musical “Prometheus Bound” was based on, if memory can be trusted and rumors are true, the first play ever performed. Written by Aeschylus, “Prometheus, Bound” is the story of the titan Prometheus who was damned by Zeus for giving mortals fire and art.
The legend is that he was doomed to an eternity of having an eagle feed on his liver only to have it re-grow and be re-eaten day after day. The play itself is very short, a 90-minute account of what happened prior to Prometheus’ damning — an illustration of his will to persevere in the name of what was right.
This musical, written by Steven Sater of “Spring Awakening” and scored by Serj Tankian of “System of a Down” stays incredibly true to its original. The dialogue is verbatim and the sentiments ring brutally true in today’s world, where it seems there will always be one person punished for the desires of many — one person who, through a remarkable display of strength, will speak for the silent.
The show’s staging conjures up images of what I have already referenced: fire, art and strength. It is styled like a punk garage party, where Prometheus sports a black mohawk and combat boots. Force and Violence, the demi-gods of Zeus, adorned in tattoos, piercings and ripped up suit jackets and chains, giggle maniacally at our hero’s torture.
The Daughters of Aether, three ethereal beings who over-empathize indiscriminately, don slips, tattered wings and Doc Martens. They wind their way through industrial catwalks and ladders, each cast member exhibiting physically impressive balance and power.
The best part of the show was the way in which it was performed. The show takes place in A.R.T’s Club Oberon and most of the audience stands throughout. You are allowed to walk anywhere at any time, follow the actors about if you choose and get as close to the action as you want.
You can’t unfortunately climb the set pieces. But they come very close to climbing you as staircases and pillars are pushed through the audience, piloted by techies who growl if you don’t dodge adequately. There was head-banging, thrashing and a lot of screaming and strobes, making this a show far ahead of its time despite its origins. I remember musing about how all shows for this modern age should be performed in such a fashion.
I find that most tales of Greek or Roman vengeance and wrongdoing ring true throughout history; that’s why they have yet to fade away. But as America wars on and more or less ignores the heart of most of its political problems, Prometheus becomes an even more poignant hero.
There will always be people abusing power and those that usurp them. But what we forget is that it starts with one — a single person whose voice can’t be quieted, who is therefore made an example of. Prometheus sings about giving the people who “wandered without judgment” the ability to warm themselves with both flame and beauty.
At the end of the show, as the crowd and cast stood side by side sweaty and glowing, Amnesty International collected postcards signed by the audience for the release of three Vietnamese men who are currently imprisoned for doing what Prometheus did — standing up against tyranny.
The story we saw was relevant and its characters didn’t have to be modernized. Even as we left, trickling into the rain-slicked streets of downtown Cambridge, I was still breathless.
Theater pieces are too often viewed as just vehicles of entertainment. It had been too long since a show grabbed me by the throat and really made me squirm; I was grateful to have stumbled upon one that did just that.
Moreover, it is important for everyone to see how uninvolved we are with the terrible things that go on above our heads and social consciousness.
While few have the conviction to do what is difficult but right, it shouldn’t be so easy to ignore those that do. If anything, this should serve as a reminder that we must stand next to them.
Giving tyrannical people and governments a bull’s-eye to aim their arrows at only makes their work easier and if anything, we should be making it hell.
Sarah Mann is a fourth-year English student. Her columns will appear every Monday.
