Theater Review

Beowulf reimagined for our time

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No doubt my ninth grade English teacher would be aghast to learn that Trinity Rep opened its 2016-2017 season with a rock ‘n’ roll musical based on the Old English poem “Beowulf.”

The original epic poem, likely written between 700 and 1000 CE, recalls the legendary strength of the title character, and it serves as a record of Anglo Saxon history. It is often referred to as one of the most famous pieces of literature, and its themes make it a timeless story.

As a result, modern theater audiences will marvel at the melodious magic of “Beowulf: A Thousand Years of Baggage.” Trinity pushes the theatrical envelope once again, and the reimagined version, created by lyricist Jason Craig and composer Dave Malloy, fuses a literary classic with classic rock.

“Something we do extremely well at Trinity is to bring bold, new life to classic texts,” remarks director Curt Columbus. “Jason Craig and Dave Malloy have given us a thrilling, musical reinvention that will delight audiences.”

Malloy says, “Our show explores the more dubious sides of [Beowulf’s] actions…and questions what exactly a warrior hero is and what he stands for.” He adds, “I think at any time in history you’re going to have leaders with violent, masculine, militaristic ideologies, so ‘Beowulf’ continues to resonate.”

But the question remains. How does the classroom classic translate as a musical? Personally, I can’t think of a better way to adapt the classic, blood-soaked Old English poem for a modern audience than to set it to music. The cumbersome language is eliminated while the integrity and intent of the story is preserved.

The show opens with three academics, played by Stephen Berenson, Janice Duclos and Anne Scurria, introducing the backstory: Beowulf, who has the strength of 30 men in each arm, defends the great hall of Heorot, by traveling great distances to prove his power at impossible odds against the monster Grendel, Grendel's mother and a dragon. Throughout the musical, the academics magically morph into the three villains, and each scene climaxes with an epic battle.

One of the most enthralling and brilliantly staged aspects of the musical was the confrontation and subsequent mêlée between Beowulf and Grendel’s mother. It is performance art at its best – clever and imaginative, while ever advancing the plot. After each conflict, we are left to wonder what defines a hero, what defines a monster and who decides which is which.

“We are in the midst of a political season that repeatedly asks the question, how safe are we?” says Columbus. “Do strength and power transcend all other considerations for a people? Can we really build a wall to keep the ‘monsters’ out? And how do we put an end to monsters, to evil, to threat, for once and all? ‘Beowulf’ has something to say on every count. Fortunately, in our production, this philosophical debate comes with good, rock music.”

Moreover, during intermission, Trinity’s production includes audience engagement. Audience members are invited to approach the set (made up of scaffolding and oddities), speak to cast members, graffiti one area of the stage, play a game and drink Grendel’s Grog, a libation named after one of Beowulf’s adversaries.

Resident company member Charlie Thurston is flawless in his portrayal of Beowulf, the dim-witted, testosterone-driven hero. His raw sexuality is palpable as he rocks with the female warriors. Another stand-out is Joe Wilson, Jr., who plays Hrothgar, the king of the Danes. Thurston’s and Wilson’s velvety voices simply add to the caliber of the production.

The mood of the show is often dark, peppered with humor and adult language. The songs are catchy, and the timber of the music evokes a rock concert – loud, brassy, raucous, eerie, rhythmic, choppy, piercing, strident, resonant and heavy. But don’t let that deter you from attending. The songs brilliantly tie in with the plot. (In fact, we learn that it is “better to retaliate than to mourn.”) The music is emblematic of social revolution, an indicator of cultural shifts and beckon rebellious behaviors, all of which dovetail with the action of ‘Beowulf.’ Once the music mixes with the message, the audience will surely understand why this story was set to music and staged as such.

"Beowulf: A Thousand Years of Baggage," directed by Curt Columbus, is running through Oct. 9 in Trinity Rep’s Chace Theater. Tickets are available at trinityrep.com, by calling 401-351-4242 or at the theater’s box office at 201 Washington St., Providence.

KARA MARZIALI is the communications director of the Jewish Alliance, a patron of the arts and a theater enthusiast.

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