Review - An Iliad

Somewhere around the middle of Denis O'Hare and Lisa Peterson's solo play adaptation of Homer titled An Iliad, the storyteller, known simply as The Poet, halts his detailing of the Trojan War because something he just mentioned reminds him of an event that occurred in... And then he takes several minutes to sequentially list every major conflict in recorded history from ancient days to the present.

Many of the names will be familiar and trigger specific thoughts and reactions from audience members, but eventually they seem to dissolve into some meaningless blur of words; these wars which were life-changing events to those they directly affected, now, to those with no knowledge of the issues involved, have been reduced to a collection of nonsensical sounds and rhythms.

"It's always something," he sadly concludes when searching for the meaning of it all.

Perhaps a diligent researcher could create a corresponding monologue sequentially listing anti-war plays that were written during each of the above conflicts. They might blur as well, despite each, no doubt, being a heartfelt and passionate plea to stop the killing. An Iliad's cry for a peaceful resolution of conflicts is a familiar, albeit important one, and the play's strength lies more in the observation of the protagonist's emotional connection to the warriors whose tales he tells. He is painted as an ageless sole who has been telling this story for centuries, always adapting the details to suit the time and location of his audience.

Peterson directs both O'Hare and Stephen Spinella, as the two actors alternate performances. I saw Spinella's hearty and showman-like delivery, with the poet treating his bare-stage presentation as a battle he must daily fight, supporting only by Scott Zielinski's wonderfully expressive lighting and Mark Bennett's somber tear-stained music, played above the actor by bassist Brian Ellingsen.

The legendary aspects of the conflict - the fight over the beautiful Helen, the involvement of the gods, the Trojan Horse - are touched upon lightly as the poet focuses on the heroism of the Greek Achilles and Hector of Troy, two men he loves and admires greatly; agonizing over the waste of their and countless other lives.

His description of the man-to-man bloodshed on the front lines is detailed and blunt, emphasizing the confused fascination of the soldiers as they find themselves capable of killing what are probably very nice guys. He imagines the survivors from opposing sides, years after the war, kicking back together and reminiscing about each battle, as if they were weekend athletes remembering the big game.

At 100 minutes, An Iliad seems a bit padded, but Spinella proves a storyteller of the first order as he immerses himself into an assortment of characters, and the text provides enough high moments to keep the evening engaging.

Photo of Stephen Spinella by Joan Marcus.

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