Word: trojan
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...blurring the line between past and present, war and peace, truth and lies, “The Trojan War Will Not Take Place!” challenged its audience’s assumptions about declarations of war and affairs of state. But as they tackled these political obstacles, the cast also reexamined their notions of love and beauty—and this is where the play’s strengths lay. Produced by Katherine K. Schick ’10 at the Agassiz Theatre, “The Trojan War Will Not Take Place!” shone with standout...
...dedication of director Alex N. Chase-Levenson ’08 to “The Trojan War Will Not Take Place” made it a coherent work. Jean Giradoux’s 1935 play poses a compelling historical scenario: What if Trojan hero Hector took drastic measures to avert the Trojan War before it began? Having personally translated the script from its original French, Chase-Levenson powerfully conveyed the subtle nuances of Giradoux’s dialogue through his directorial choices. These choices worked well artistically, although Chase-Levenson made a minor slip by allowing his cast...
...soul of “The Trojan War Will Not Take Place!” was its acting. Convincingly ditzy and self-involved, Geraldine K. Prasuhn ’09 brought a vapid Helen to life. As her foil, the war-weary Hector, Christopher J. Carothers ’11 embodied the disillusionment and despair that Giraudoux associates with war. Carothers infused his character with just the right combination of masculine pride and unwavering dedication to family. The stark contrast between Carothers and Prasuhn spoke to the struggle between the themes of fate and free will that dominated the play...
...Demokos (Ben C. Cosgrove ’10), the ancient president of the Trojan Senate, provided much needed comic relief—and a reminder that human folly ultimately governs the play. And compared to the fatuous Helen, Andromache (Courtney G. Bowman ’11) and Hecuba (Caitlin Lowans) gave compelling performances as paragons of strong and virtuous women who desire peace and stability for their children above all else...
...functioned well as a physical expression of the play’s larger themes. Set designers Chase-Levenson and Schick constructed several terraces to mimic the walls of Troy and featured actors on multiple elevations. A pair of large wooden doors opened and closed at the whims of the Trojan men, suggesting the intangible and subjective nature of peace. Lighting designer Mary E. Stebbins ’08 imbued the entire stage with a rotating palette of hues that enhanced the mood...