‘An Iliad’ uses an old text to illustrate ongoing problems

NEW YORK — An Iliad, the new one-man show at the New York Theatre Workshop, is an interesting blend of an historical text and modern-day commentary. The 100-minute evening features a single performer (Denis O’Hare or Stephen Spinella, playing in repertory), and uses a mixture of Homer’s The Iliad with more recent observations written by O’Hare and director Lisa Peterson. The resulting show is intermittently effective at illustrating the still-present brutality of armed conflict. The monologue tries to put a face on large wars that often are judged by numbers and statistics. As a work of art, it’s a clever play that has a lot to say about its controversial subject matter. As a form of entertainment, it feels at odds with itself.

The strength of the piece rests largely on the individual performer. At the performance I attended, Spinella offered a touching, heartfelt portrayal of The Poet, our journeyman for the night. He presents the highlights of the original text in a snarky, been-there-done-that manner. At first, it takes a little getting used to his style and inner debate with himself. At one turn, he will recite the words from Homer’s epic, and then instantly change his personality and offer his thoughts and observations. In some ways, An Iliad is like experiencing the original poem with a DVD commentary track blaring into the speakers. As audience members, we’re accepting and appreciative of the context, but it becomes frustrating to focus on the original author’s purpose.

Spinella, barefoot and wearing the traditional garb of a traveler, first emerges from a large doorway, silhouetted by a backlight. He walks toward the audience at the New York Theatre Workshop, where the play will run through April 1, and welcomes us to the story. He jumps into the epic and covers many of the important aspects of the story. We learn of the face that launched a 1,000 ships, the Trojan horse and, of course, the heroics and tragedy of Achilles and Hector. If you’re spotty on the details of the original story, The Poet is helpful in filling in the blanks.

Disrupting the story (and, unfortunately, it does feel like a disruption) are The Poet’s own musings and his obvious reminding of the connections to 2012. He doesn’t outright portray the theatrical project as a screed against Afghanistan or Iraq, but a critique against our present-day conflicts is always brimming under the surface.

In the play’s most effective scene, The Poet stands on a chair and recites the names of the many armed conflicts in the annals of history. It’s a lengthy list that includes just about every global war. By the end of the furious recollection, the enormity and gravity of An Iliad comes into fine focus: The lessons of pacifism haven’t been properly understood; conflict feels eternal and generational.

O’Hare and Peterson’s words, which are brought to life exquisitely by the always-impressive Spinella, are highlighted nicely by bassist Brian Ellingsen, who sits above the stage on a catwalk. The words and the music, when taken together, resonate and earn a certain type of power. There’s a yearning to lean forward and process the information, to digest the play and its helpful, reflective words.

The obstacle is that the message that filters back from the stage is too self-aware. Homer’s text is the story of gods and men brought to the basest level of violence. An Iliad injects a simultaneous Cliff Notes on this poetry, and the play doesn’t quite solve the clunkiness of bringing both worlds together. Still, with Spinella (and I’m sure, O’Hare) in the lead role, this is a conversation worth thinking about. It’s always interesting and informative, even if it’s pulled in one too many directions.

By John Soltes / Publisher / John@HollywoodSoapbox.com

• An Iliad

• A production of the New York Theatre Workshop

• Written by Denis O’Hare and Lisa Peterson, based on Homer’s The Iliad, translated by Robert Fagles

• Starring O’Hare and Stephen Spinella, in repertory

• Running time: 100 minutes

• Currently playing at the NYTW at 79 E. 4th St. in New York City. Click here for more information.

• Rating: