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by Michael Zarathus-Cook
It’s one of the most disturbing artifacts of Greek mythology and, two thousand years later, the inspiration for one of the more sadistic episodes of Netflix’s Black Mirror: as punishment for stealing fire from the gods, Prometheus is eternally confined to a rock whereupon an eagle returns daily to feast on his liver. Overnight the organ is repaired by means of supernatural hepatic regeneration and the eagle returns again for another round of vicious nibbling. This self-ballasted torture was, apparently, not enough. Seeking to satisfy the insatiably morbid sensibilities characteristic of ancient Greek myths, a motion was put forth to involve his siblings in the proceedings, his brother Epimetheus. Thus a two-fold scheme was hatched of placing in the care of Epimetheus a jar (that was mistranslated in the 16th century as a ‘box’) conveniently containing all the evil in the world, as well as ‘gifting’ him a woman who would be the unwitting opener of said jar/box: Pandora. Yet again, a woman is blamed for the existence of every vice in existence.
An especially re-inventive creative spirit was what FAWN Chamber Creative’s latest project, Pandora, will bring to this millenia-old tale, with a fresh operatic perspective coupled with contemporary ballet. As what to expect of the music: there’ll be drums, a piano, an electric guitar, a cello, a bassoon and electronics(!)— and two dancers alongside a stellar cast of singers.
In the plot too we’ll find some ambitious innovations. Canadian writer and all-around man-of-letters David James Brock will have his libretto refracted through the lenses of three unique Canadian composers: David Storen, Joseph Glaser and Kit Soden. The weight of all the world’s evil—from death and sickness to flat tires and gluten—will lifted off the shoulders of one woman when another character revisits that infamous box many lifetimes after her.
Stage direction by Amanda Smith with Holly Meyer-Dymny’s set design, Tosca Delfino’s costumes and Jennifer Nichols’ choreography will all contribute to this production’s layers of expression. The ability to maintain a cohesive and immersive plot while navigating various and often insoluble art forms is the challenge that Pandora’s creative team has taken on.
Hope, in the myth of Pandora, is the only item left in the box after all the world’s evils escape. We can’t be in too much of a hurry to extract that last item at this moment. You and I (and the friends you bring!) will have to find out at this production’s premiere on May 23.
Tickets available at:
https://fawnchambercreative.ticketleap.com/Pandora/
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