REVIEW: Cracking Zeus (Spooky Action Theatre)

In music theory, a “blue note” is one that, as a means of the performer’s expression, intentionally differs from that of the standard scale.

It’s this sensation that Atlanta-based playwright Christopher Hampton tries to evoke in his newest play, Cracking Zeus, premiering now at Spooky Action’s parochial space. More than five years in the marking, the piece seeks to disrupt the classically airy Greek mythos of Olympus, while splicing it with something decidedly less glamorous: the crack epidemic that plagued American cities in the late 20th century. It’s a boldly fascinating idea that I was excited to see play out, especially under Reginald Douglas’ direction.

Book

Hampton creates a familiar world: Greek gods mingling among mortals, even as far as impregnating local women (a-la Hercules). This world is 1990s Chocolate City, as she struggles to resist the destabilizing influence of crack cocaine. Tying these different worlds together is a family-run church (with recently-upgraded marble stairs) and an addict, Rufus, who is often found sleeping there. Momma Jo, who detests Rufus and derides him as the product of his own choices, is the pastor running the joint with her son, the sympathetically naïve Baniaha. As an adult, he seeks to learn more about his missing father; little does he know that he might just be of godly origins himself. The B-plot begins as Rufus, in his regretful squalor, is visited by Hera, the queen of Olympus herself, who seeks to extract revenge on Zeus for apparently transgressing their marriage by malingering with the urban mortals; who better to manipulate than a drug addict? Avoiding spoilers, there are several good ideas brought forth from this book. The chaotic nature of something so romanticized being met with such a dark period of urban history is exciting to sink your teeth into — sweet, with a kick, like hot honey. In fact, my main quaffs with the piece is not for its lack of effort, but that too much of it exists to feel consistently bridged. Characters, such as the limited Greek chorus (the gospel choir at the church), could be expanded upon or eliminated entirely with varied, but potentially beneficial results either way. The good news is, that if any of the directions were committed to over the others, the end result would remain thrilling. Thompson has created an addictive world with fascinating narrative potential that I’d love to see expanded upon either in future productions, book revisions, or via other works. 7/10

Acting

The twin sine waves of Rufus and Baniaha are rigorously performed by DeJeanette Horne and Charles Franklin IV, respectively. Horne particularly — and expectedly— occupies a shockingly different aura from his first scene, stumbling out of trash, to his final appearance; as great a mental transformation as it is physical. Lolita Marie is effusive as an overbearing, spread-too-thin church manager/mom/community oracle in her Momma Jo, and though she faltered on occaision, I found Nicole Ruthmarie’s stage presence as Hera especially attention-grabbing. It helps that her silky white costume, by Cydney Forkpah, is so eye-catching. 7/10

Production

I love the grime of Barrett Doyle’s set. Little details, like graffiti tucked into wall crevices to the sturdiness of an actual city lamp post, help sell the decay. Malory Harman does the lighting, excellently I might add, but it gets particularly exciting when paired to Siani Beckett’s effectively discordant choreography. 9/10

Viz

There’s something pious about the grimy streetscape that greets us in the basement of the Universalist National Memorial Church on 16th Street NW. This setting obviously connects to the religiosity of it all, but it’s framed in a particularly monumental way. Yet it’s inexplicably foreboding. They key art they use prominently features Hera, but doesn’t do much to explain her purpose, or even who the character could be. 5/10

Verdict

Cracking Zeus is a conceptually unique take on both unsung and well-trodden subject matter. It’s an intriguing enough production to warrant exposing yourself to an exciting new voice in playwrighting and a hyper-local cast of familiar faces and rising collegiate players. 28/40