The Odyssey @ Dallas Theater Center (Public Works Dallas)
—Martha Heimberg
“Who are you? Where are you from? How did you get here?”
A swelling chorus of community and professional actors opens the Dallas Theater Center’s joyful musical version of The Odyssey, the company’s upbeat, heartwarming and richly costumed Public Works Dallas production for this summer. And then, the smiling throng steps forward on the Wyly Theater proscenium stage to sing the chorus again, in Spanish.
We are about to hear the ever-thrilling 2,000-year-old story of the crafty, true-hearted hero of Homer’s great epic. You can call him Odysseus, you can call him Ulysses—and you can certainly call him late for dinner (by 20 years or so).
Conceived by Lear Debessonet, this lively adaptation was written by Todd Almond, who also wrote the lovely score. There is spirited, inventive choreography by Bridget L. Moore, and a fine band directed by Samuel Bagala. Director and Artistic director Kevin Moriarty launched the Public Works program in Dallas in 2017 with The Tempest. (Full disclaimer: I made my one and only live theater appearance in The T as a Sand Spirit, and will never forget the tribal thrill of working with professional actors and musicians as we built “our show” over a rapturous six weeks.)
Right away, the opening song reminds us that this story is about the human community. Odysseus, a stranger in a bunch of strange lands, survives and thrives (and makes it home again) only because he and his Argonauts are embraced and held up by lots of “others” who help them through their battles with the Cyclops, past a dark whirlpool that wants to drown them, and away from the lures of a powerful, sexy sorceress who pulls out all the stops to keep handsome Odysseus on her island. And that’s just the short list of perils! I mean, it takes all the villages Odysseus passes through to sail him through the stormy seas and back to his island home of Ithaca.
Moriarty announces in advance of the show that a $500,000 gift has funded this beautiful free show to the city, and he mentions the many community centers and small arts organizations that contributed: the cast, the cameo dancers, the neighborhood artists of all ages who created the montage—all of it animated professionally and projected behind the handsome, blue-tiled arches of Dahlia Al-Habbieli’s enveloping set design. Again, it takes a village—and some generous, arts-loving donors—to bring this full-scale, lavishly costumed production to the stage. Thanks to costumer Yvonne Miranda for the handsome leather gear for guys, and the textured togas and golden-beaded dresses for the gals. I remember the feeling of being measured and fitted for a costume! Every man, woman and child in this show is now a lifelong theater junkie.
And the actors! Everybody is so good, and so into it, that it’s hard to tell the pros from the newbies. Alex Organ, who never disappoints, is a dazed and determined Odysseus, bearded and always moving toward his Penelope. The scene when he finally meets his son Telemachus (Zachary J. Willis, busting with newfound princely skills) is charmed and real, and the true payoff for all the wild adventures we’ve witnessed in this fast-moving 90-minute show. Okay, the scene where his old dog Argos recognizes him after 20 years runs a close second. The kid in the pup suit is an automatic star. Tiffany Solano’s Penelope is beautiful and faithful, and pulls as much love and passion from her returned husband as she gives to him.
Christopher Llewyn Ramirez, a born stage magician and narrator, is also a multi-linguistic singer, dancer and all-round pretty thing to look at, his face glowing with gold dust and his body in a white toga. Aden Jemaneh’s Circe is a witchy, alluring, irresistible young sorceress. She brought the house down with her cool moves and playful seduction of the hungry Argonauts. Of course she wants to turn those men into pigs! ‘Cause she can.
Sally Nystrom Vahle, a shining DTC company member and one-time Penelope, makes a heart-wrenching cameo as Odysseus’s mother—floating through the Underworld and warning her son not to dwell in her land of the dead, but to return to his life and family.
Flamenco dancers, slam dancers, bongo players and even a stunning flute-solo are incorporated from community arts groups, and they flow like fresh water right into the story. Director Moriarty knows all about how that works.
Even my own super-elegant #District 14 City Councilman Paul Ridley shows some sure comic timing when The Cyclops calls 911 to report that “Nobody” has poked his eye out. (Odyssey’s clever trick of calling himself Nobody allows him to do the monster in.) Ridley stays cool, gets the facts, and calms the crazies. Here’s another guy who understands how to get the job done, if you’re not trying to take all the credit.
Thanks, DTC! What a great July present.
The show is free but you need reservations, and it runs only through the weekend. Hurry up! Even if it’s sold out you can get on a waiting list and probably get in.
WHEN: July 8-10
WHERE: Wyly Theater, Dallas
