If all is lost, can all be new again?

Kassandra at the Top of the World

There are only a few more days to experience the world-premiere of Kassandra at the Top of the World, a mythic and timely reimagining of the famous seer, presented by The Terror Cottas and the Chicago Parks District, in collaboration with Fat Theatre Project. This powerful original work written and directed by Eileen Tull, Artistic Director of Fat Theatre Project, confronts us with the things that are heard, but not listened to: Kassandra’s prophesies, survivors of sexual violence, inconvenient truths about the exploitation of our one precious planet. And, perhaps most importantly, that inner voice reminding us to embrace our innate divinity and bow to no one.

 High on a sparse mountain top, Kassandra teeters between madness and soul-searching, visions and memory. Having escaped the climate apocalypse she foresaw but could not stop, she is haunted by past, and future, calamities. Everything is in question, every belief as precarious as the cliff to which she clings. As she journeys between hope and despair, Kassandra calls out to her patroness, Athena, for help. But Athena is just another who, iif she hears, does not listen. Kassandra’s turmoil is observed, and hilariously commented on, by a trio of birds who may be the only other survivors of the destruction below. The birds, expressing that they are essential to the narrative, form a gentle alliance with Kassandra. But when Apollo descends the true colors of the god of music and poetry are revealed, and Kassandra must submit or somehow defeat the god who blessed, cursed, and violated her. 

Audiences should be aware there are brief flashing lights, extended discussion of past sexual assault and stylized man-on-woman on-stage violence. Select performances include a discussion of the themes of the show by Awakenings and Eco.Logic, and members of Resilience, a non-profit providing crisis intervention for sexual assault survivors are on site.

In this epic and intimate creation, Playwright Eileen Tull explores global and personal violence,  divine power and apathy, and what it means to reclaim our truest, freest selves. Kassandra’s lyric monologues are words wrung from deepest existential crises, experiential trauma and a hope that is yet indestructible. Tull’s script is a work of soul-wrenching poetry, swimming in all the emotions of the human experience. It is an exquisite prayer, a lyric journey of such profound import it should be sung from every mountaintop, and experienced by everyone who has ever wrestled with a dark night of the soul. This play spirals into an abysmal darkness of despair; it will feel like drowning, it will rend your hope like gossamer. And then, with volcanic force, it rises, an unstoppable phoenix, free at last. Tull’s tale is a renewal and rebirth for which we desperately thirst.

Almost every moment of Tull’s weaving falls to Kassandra (Maya Moreau), who makes her Chicago debut with this demanding and exquisite role. Moreau is gorgeous to watch as she flirts with madness, moving her mind from memory to prophecy and every thought between. In multiple heartfelt soliloquies, despaired ravings, or desperate pleadings Moreau pulled tears from the audience; and just as frequently inspired laughter with a perfect quip or a Disney-esque exchange with the Birds. Her physicality sold the unique conflict scenes which are crucial to the climax of the production. The scenes of physical conflict are gut-wrenching, thanks to the powerful and truly inspired work of Fight and Intimacy Choreographer Bianca Thompson. 

Be ready to be delighted by a small murder of crows: A Bird (Jonathan Crabtree), A Second Bird (Jacque Bischoff), and especially Another Bird (Joél Cordova). Mysterious and potentially ominous, the three black clad figures with dramatically painted eyes are at first inscrutable, but soon become a chorus, breaking the fourth wall, highlighting key points, and always providing welcome comic relief. All excel in physical comedy and vocal flexibility. Crabtree is a grumbly, self-important elder and self-annointed leader. Bischoff’s Second Bird has her feathers in an almost permanent ruffle; her feuds with Another Bird are comedy gold. Cordova is a Chicago-based Drag Performer, actor, and member of the Fat Theatre Project Collective. His Another Bird is an endearing slightly-rebellious pup who makes the most of every moment under the lights, bringing flights of laughter with his choices.

But then, enter Apollo (Ethan Carlson), oozing a sleazy combination of condescending predation and untouchable power, poured into the form of a sports-jacketed ex-frat boy. The visual is on point; a tall white man with pale skin, wearing an unfortunately familiar alt-right uniform of khaki’s, light blue button down, and slicked blond hair with the side buzzed. This Apollo is a grotesquely appalling villain and Carlson bravely does not shy away from the sadistic brutality that actors are sometimes too self-conscious to fully deliver.  Somehow conveying soulless egomania, Carlson lands verbal and metaphysical blows with salacious savagery. Carlson’s Apollo is terrifying, nauseating, and an incredibly vicious adversary – driving the ultimate confrontation between Apollo and Kassandra to heart-racing intensity.

The audience enters to the figure of Kassandra, curled against a rough rock outcropping. The set evokes a bare, craggy mountaintop, while deliberately remaining a clearly unrealistic ‘set’ with its straight line structure surrounded by simple sky and water painted details. In this way even the set by Scenic Designer Mary Aurora Moore subtly contributes to the play’s pattern of breaking the lines of theatrical illusion. Gorgeous visuals by Projections Designer Annie A are mesmerizing, and combined with the Sound Design and Original Music by Aaron H. Woodstein, the audience is transported. 

The talents of the artistic team weave this production into a potent and cohesive whole, including Lighting Design by Leland Culver, Make Up and Wardrobe Design by Shellie DiSalvo, Props Design by Taylor Stageberg. 

Kassandra at the Top of the World will call to you to take back your voice, throw off your curse, and step into a future of unknowable promise. 

Highly Recommended

Reviewed by Soleil Rodrigue

Kassandra at the Top of the World, a co-production of The Terror Cottas and Fat Theatre Project, FINAL WEEK playing April 15th through 18th at 7:00 PM. All shows are at the Berger Park Coach House Theater, 6205 N. Sheridan Ave, Edgewater, Chicago.

Tickets are $10 and may be purchased by https://fattheatreproject.com/home/  or https://theterrorcottas.org/projects/kassandra-at-the-top-of-the-world/ or call the Berger Park Cultural Center at 773-761-0376. 

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com