It’s the top of the show. The Poet (Timothy Edward Kane) enters and the lights start to dim—but only just. With the house still lit, the Poet begins to introduce the story that is about to unfold. As he takes us through a summary of details—the bloodshed of the Trojan War, and all the unnecessary deaths, we are all still lit. In fact, you can see the audience surrounding you more clearly than the actor on stage. It may feel almost unsettling. You might start to wonder: Has the play started? Will this be the effect for the entire performance? Are the folks surrounding me noticing the others in the audience as much as I am noticing them?
Perhaps though, the most important question that will come to mind is: Am I somehow part of the story?
Many of us know at least some portion of the story of An Iliad. Set towards the end of the Trojan War, Homer’s epic poem describes the major events that take place towards its final weeks. Most specifically, we witness the rage of the Greek warrior Achilles, and how that leads to the tragic death of the Trojan prince Hector. Lisa Peterson and Denis O’Hare’s adaptation (using the Robert Fagles translation) takes the entire epic and infuses it into one storyteller—The Poet.
Directed by Charles Newell, the production (Court's fourth iteration of An Iliad) transports the audience into an other-worldly space, particularly through scenic designer Todd Rosenthal’s epic stage. The design suggests something like Ancient Greece, but with a twist. Lighting designer Keith Parham finds ways to bring light into unexpected places, such as hidden tunnels and hideaways in the set. Particularly when combined with sound designer André Pluess’ atmosphere, the theater becomes almost magical. Or, depending on the moment, maybe even haunting.
Kane’s Poet is highly engaging, with a charisma that hooks you in from start to finish. A one-person show is no easy feat, but Kane handles the material with grace, especially when the audience, without much warning, becomes part of the story. Peterson and O’Hare’s adaptation draws connections from the original material to present day, not just in pop culture references, but also in the cyclical nature of war. It is these moments in particular that bring us back to this question: Am I somehow part of the story?
This production smartly invites us to consider the parallels across history. What is the true difference between the Trojan War and World War I? Or World War II and the War on Terrorism? The Poet lays out the damage. The deaths and destruction that continue to unfold. Not only are we invited to consider our role in the story, but we as an audience are also asked to consider our role in the solution.
With an exceptional performance and a script full of intrigue, An Iliad is a compelling reminder of theater's ability to bring both horror and hope.
An Iliad runs through June 29 at Court Theatre, 5535 S Ellis Ave. Running time is 90 minutes with no intermission. For tickets and information, see the Court Theatre website.
For more information on this and other productions, see theatreinchicago.com.
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