Gilgamesh's tale raises male bonding (probably asexual) to mythic levels by recounting a passionate relationship that almost transcends death.
David Garrett as the title character was powerful enough to portray the great hero whose epic tale has resonated down the millennia (his is the oldest story in the world). Garrett's reactions to his friend's death could have displayed more drama (though not more sorrow), but he never failed to interest.
David Mowers as the Caliban-like Enkidu was a pleasure to watch as he pranced animal-like about the stage, shuddered in his sleep, fell victim to eroticism, or cried real tears. When Enkidu perishes (in an invented scene recalling the death of Socrates), Mowers sank visibly into the earth. It was heartbreaking and made people cry - rare in the theatre.
Elizabeth Tobias as Ishtar really suffered from Gilgamesh's rejection; and Sheryl Moller and Karen Wright amusingly shared the role of a scorpion dragon. Also fine were Cassie Lates, Jonathan Uffelman as a fey god, Leslie-Anne Copes as a tavern keeper, and Mark Costanzi as a winged boatman.
The adapter, through his occasional use of rhyme and meter, heightened the feeling. He continually presented clear conflict between the characters, and completed every action.
Especially remarkable were the directors' use of sticks and poles to forge weapons, make music, carry a boat across the Sumerian Styx, snap down death, and portray monsters.
A few touches were less successful: The stereotyped but insufficiently authentic portrayal of a mythic couple from Miami Beach ("Oy, vat happened to your vings?") was unfortunate.
The design (by Amanda Patterson and Susan Bricker) made wonderful use of the columned playing area; and John Tees III's lights pinpointed actors' faces nicely, even turning the hands of chorus members blue, an amazing effect.
The rhythmic music (composed by Mischa Kischkum - who also played Utnapishtim) was pleasingly melodic and haunting. Sounds rattled or drummed like a monster, twanged a zither, pinged finger cymbals, hissed like a river, or clapped the floor in chilly imitation of Noah's flood.
The designers used simple fabrics, brocades, and spangles. They attached sleigh bells to coolie hats to enhance the gentle humor of the piece.
The tasks this company bit off were huge. It's a pleasure to report how close they came to perfection.
Copyright 1999 Marshall Yaeger