"Ion" is unusual theater geared for the esoteric and lovers of Greek tragedy. Don't go without reading the play or a synopsis first. This just isn't a play where you can figure it out as you go, even with the techno-pop musical rewrite that attempts to bring it into the nineties realm.
In fact, at the outset, "Ion" looks pretty unfathomable as there is no intelligible dialogue, and the audience is left to simply catch the symbolism of the modernistic dancing.
Once Hermes the messenger begins talking, it gets easier.
The story, which takes place at "the navel of the universe," in the religious complex known as Delphi, becomes one you can care about. In fact, at some points, the play becomes downright lively and fun, especially with characters like the Athene "valley girl" persona and lines like "If you say one word about who Ion is, you're dead meat" that add humor to the otherwise dark Greek plot.
Ion, played by B. Joe Rogan, is an upbeat kind of guy, happy with his lot in life, even if it's only to sweep the temple of Apollo and chase away the birds that threaten to make a mess on the marble floors.
He's blissfully unaware of the secret circumstances of his conception and birth that make him an heir of Apollo. He masterfully plays the carefree servant yet also makes the transitions from foundling to illegitimate son of Xuthus to the child of a god who seduced his mortal mother.
Kathryn Brussard, who plays Creusa, the mortal woman taken on a "bed of rock" by Apollo, is also masterful in her role. She convincingly portrays a woman full of both rage and sorrow without becoming maudlin or trite in her treatment.
David Neisler, playing her husband as Xuthus, although mismatched physically with Brussard, does a good job as well. Shannon M. Hollinger as Pythia, the priestess of Apollo, is another highlight.
The story is told well through a combination of well-delivered dialogue and choral numbers — although the choral pieces are sometimes intrusive. The colors and costumes are bright and interesting and work with the simplistic, stark set that is actually only a rock and several tall female statues, sheathed and bound early on with silks and ropes, perhaps to forewarn those in audience about the plight of the females.
There are, actually, a number of messages coming out of the play and a couple of themes that some might find troublesome.
Women in the story are obviously beginning to resent how men treat them and recognize that men "whether mortals or Gods" cause them problems. Revenge is put forth as an acceptable compensation for having been hurt.
"Stepmothers never like their stepchildren," is spoken like it's a truth.
Ion is not alone in his struggle to understand how gods can rape women, abandon newborns and lie, yet feel free to then hypocritically punish mankind for its sins.
"The Gods may be slow to act, but in the end," says Athene, "they always do what's right."
It's probably best to approach this play with a sense of humor and forget expecting it to follow any kind of local cultural and doctrinal logic. Just enjoy it for exactly what it is, ancient theater dressed up as a modern-day serving of dramatic entertainment.
E-MAIL: haddoc@desnews.com