PROVO — Children of War, a new work presented by a new company — Poet’s Star Theatre Company — is an impressive tale that invites the audience to choose their hero. With the backdrop of the ancient Olympic games, the audience meets the three souls at the center of the gods’ schemes; Calista, a demigod daughter of Ares; Achaeon, the captain of the guard with a difficult past and wavering alliances; and finally, the troubled Prince Teleion, Apollo’s seer trying desperately to protect those around him from their own shortcomings. These three work with and against each other to fight their own prophecies and fate. Most impressively, this script has two different endings – the audience makes a choice at the beginning and that choice dictates the end of the story. This play was a very fun play in the style of a Shakespearean-Greek Tragedy, with all the love and loss that those stories bring with them.
The design and backstage work of this play all worked very well together. There were a surprising amount of locations within this play. Elisabeth Goulding, the set designer, found a way to use the same columns and benches with a few additions here and there to create multiple different locations. Changing two benches for one and adding flowers turned a palace into an outdoor garden. This was a great use of space.
Lighting design, done by Rebecca Kuhn, was well done. While the colors & changes added to the emotion and space, the changes sometimes occurred slowly, seemingly too early, or too late. This caused a few awkward moments in between scenes when actors seemed unsure of what to do. Overall, however, the lighting did help to build the mood and especially add to the intensity of things like fight scenes and love scenes.
The sound design (uncredited) for the most part helped to elevate this performance. This was a small cast of actors and the sound helped to create “more people.” There was, however, a moment during a more serious scene when the sound was on a loop and an odd almost ribbit noise became distracting to what was taking place in the scene.
Costumes (uncredited) were done very well for this performance. Honestly, it would be very easy to put the actors in something like a toga. However, these costumes showed status, personality, relationships. This was an unnecessary addition that really helped to elevate the performance. Overall, the design really helped to immerse the audience into this world.
Children of War was written and directed by Selah DeGerig – quite the feat. This script really did have the wit of Shakespeare, the darkness of a Greek tragedy, and the modern take of a Queer love story. There were some moments of this script that seemed to run a bit long, and could have been condensed; however, the pacing in directing helped with that. DeGerig kept each scene moving along, which was especially helpful. Her direction helped to move through the story at a good pace and with good use of the stage. This was a well rehearsed, well staged production.
The fight choreography, done by Allyn Fry, was also very impressive. Actors were able to move, talk, and fight, without making it look silly. This had obviously been well rehearsed as the moves came naturally to the actors. There was a large chunk of fighting in this production and each of the fights seemed easy. There is a fine line between too much and too little, and Allyn Fry did a great job.
A small group of actors brought Children of War to life. Daniel Summerstay (Teleion), Andrew-Elijah Schindler (Archaeon), Michaelyn Patience (Calista), Genevene Schindler (Queen Chrysanthe), Mitch Tyler (King Lycaeus), Ray Nielson (Page), Ashley Escalera (Delia), and Lark Hudson (Queen Cora) had definitely all done their homework. This is a script filled with jokes about the Greek gods and goddesses, little history quips, and more, and this cast got it. The jokes landed, not only with the cast, but often with the audience, they were able to easily discuss the characters’ intricate family trees, and they (for the most part) let the language and words become their own. This is no easy task, and I was impressed at the way they had clearly worked to accomplish this. At times, actors gave lines too quickly, too quietly, or a bit over the top; however, it was clear that the actors cared about their characters and their stories.
Standout performances go to Summerstay and Hudson who shared a beautifully authentic scene in the garden. Patience also delivered a powerful monologue at the end when succumbing to fate. This cast was very impressive in their delivery of this play.
Children of War makes me excited about the new works happening in Provo and in Utah. It somehow felt very old and very timely and fresh all at once. It was completely unexpected, and I look forward to seeing new things from this playwright. Support new works, choose your hero, discover their fate, and most importantly see Poet’s Star Theatre Company’s Children of War.
