Thanks to clever segues and the actors’ spot-on timing, this complex production never overwhelms. Not a minute is wasted. [4 stars] – Winnipeg Free Press
This year, we decided to depart from Greek mythology and try something a little different. We settled on The Epic of Gilgamesh as the perfect way to challenge ourselves further.
The Epic of Gilgamesh is the oldest written story in recorded history, originally carved on honest-to-goodness clay tablets. (Which made the adaptation process difficult – the tablets are so old that there are quite literally holes in the story.) It’s an ancient Mesopotamian legend about Gilgamesh, the semi-divine King of Uruk. After Gilgamesh spurns the advances of Ishtar, the goddess of love, she takes revenge by striking ill his companion Enkidu, the newly-civilized wild man of the woods. Gilgamesh watches in horror as Enkidu grows weaker and weaker, and then dies. Having never experienced the death of a loved one, Gilgamesh is horrified, and vows that this will never happen to him. He sets out to find Utnapishtim the Immortal and learn the secret of eternal life.
In rehearsals, we continued to develop our own distinctive style, and brought back techniques we’ve used in the past. We kept the convention of using masks for the non-human characters. We brought back the shadow puppet screen and created a new host of shadow puppets, but with the addition of panels of coloured cellophane to lend them more character and versatility. The major stylistic difference was in the writing; we abandoned story theatre (where characters narrate their own actions and private thoughts) in favour of a single narrator, Utnapishtim.
Gilgamesh was our most mature, dramatic script yet. We took a risk by moving even further away from straight comedy, which comes easier to us, and it paid off. We won Best of Fest for the second time in three years, and we’ve received more recognition for this show than any other so far.
Two pictures below the fold.