Review: PROMETHEUS BOUND, The Tank (Online)
It’s safe to say that directing and performing an almost 2,500 year old adaptation of a Greek tragedy, infrequently performed, have significant challenges. Even more so when the lead actor spends the entire play bound in chains and confined to a restrained space with digital requirements during a pandemic. Here you have a striking Prometheus Bound adaptation, presented by New York-based non-profit arts centre and producer, The Tank.
Produced in association with Iris Media Works, directed by The Tank's Resident Director Ran Xia (In Blue) and with a script adapted from the Aeschylus play by late physician and ancient greek translator Howard Rubenstein (Tony and Cleo,The Trojan Women), Prometheus Bound opens as a world premiere film project on CyberTank. Scheduled to open off-Broadway in September 2020, the play received its digital premiere on 24 March 2021 and remains available to stream until 11 April.
Prometheus was a Titan who sided with the Olympians and helped to defeat and replace the Titans. Out of clay, Prometheus (the newly named God of Pottery) formed mankind. Zeus wasn’t attached to these early humans and would have let them perish by freezing to death. Prometheus didn’t want to accept this fate for the humanity he created, so he stole heavenly fire and gave it to them, helping mankind to survive and innovate. Zeus, King of Gods, entered in one of these multiple rage crises and punished Prometheus to be bound to a rock at the edge of the world for all of eternity.
Based on this ancient myth of the Titan Prometheus, the play opens with Hephaestus (God of the Forge) taking Prometheus to the rock to chain him up. Prometheus doesn’t try to fight back or escape, he accepts his fate but this attitude touches Hephaestus’ conscience who expresses his concerns about following orders that don’t make sense. Throughout the play, a series of characters come to Prometheus, among them a chorus of Water Nymphs and their father Okeanos, or Io, once mistress of Zeus; all of whom have their own opinions, both sympathetic and spiteful. It is through their stories and interactions led by strong, committed actors that we learn about the unfortunate events, in this emotionally charged and engaging play, that led to Prometheus' fate.
Despite his limited movement, Brenda Crawley’s stately performance of a temperate Prometheus brings the character’s fate with captivating intensity. Around her, a sharp and proficient company performance, with a vivid ensemble chorus and striking Io and Okeanos, played respectively by Macy Lanceta and Iván Hernandez.
A well-thought out, sparsely furnished stage with a centre platform where Prometheus is bound among blocks, figures Caucasus Mountains’s aspect design by Izmir Ickbal. The play’s wistful almost mystical atmosphere is embellished by original songs co-composed by the director herself and powerful choreography by Chanon Judson. Significant masks and costumes, particularly Prometheus’, have been created by Anna Jekel, with the gloomy lighting designed by Yang Yu.
Prometheus Bound speaks to both Greek mythology specialists and diverse audiences, with an ancient myth bringing modern themes that echo strangely with the present tumultuous socio-political climate.
**** Four stars
Reviewed by: Alexia Irene
Prometheus Bound can be streamed here until 11 April.