Helen of Sparta
Raconteur Theater
Madlab
Columbus, Ohio

by Rick Brown

Columbus’s Raconteur Theater might just be “The Little Engine That Could” amongst the city’s troupes. I have known them to take on sophisticated material and more times than not, pull it off through sheer hard work, dedication and talent. (I think I can … I think I can!) This night I left Madlab satisfactorily entertained, yet feeling that I wished the performance to be better than it was. This time the mountain won.

Not that Helen of Sparta didn’t have its moments. It certainly did. Just perhaps not enough of them.

Jacob M. Appel’s play is loosely based on Helen of Troy, but given a feminist twist. The multiple story lines (Helen’s abduction by Paris, Meneluas’s attempt to sail back to Troy, Paris’s inept wooing of Helen, etc.) are threaded together pretty well by director Danielle Mari. Lorelei Moore’s feisty Oenone might be the strongest portrayal here, until she caves and accepts Paris back as her husband at the end. Ms. Moore’s interaction with Helen, portrayed by a very, very youthful Gabrielle Perrea, is very good. Ms. Perrea’s inexperience surfaces in her Helen at times. Yet her obvious talents mostly buoy her performance. And the girl can wield a zucchini with the best of them. Her doing in of Proteslaus (portrayed affably by Gregory Kimbro) displayed a genuine physical command of the stage.

Brian Spangler’s Paris is the egomaniac one would expect. He is used to getting his way and he expects it here. And while Mr. Spangler’s acting is good, upon reading his “bad ass mofo” bio in the playbill I began to wonder if, rather than acting, he was just being himself. Maybe I missed out on the humor. But a biography that is one long punchline offers no insight to the performer. Simlarly, Edwyn Williams’s portrayal of Menelaus is more than a teeny bit over the top … in an English accent no less. And I don’t understand the scarf … second consecutive show I’ve seen him use one.

Heather Fidler and Krista Threadgill give quietly strong portrayals of Cassandra and Laodamia. And although hidden in the rafters, the tech people, as the gods, do a great job intervening in the action.

Don’t get me wrong. Seeing Helen of Sparta was still an entertaining night out. But last year’s presentation of Arborophilia (another Jacob Appel piece) by Raconteur worked much better, despite the equal absurdity of plot. Helen of Sparta has a script full of clever dialogue, especially the theological references, which I’m afraid were lost on many in the audience. But what really did this production a disservice is the script’s constant barrage of anachronisms: a no sail list (fly list), corkscrews from heaven, et al. I’m sure Mr. Appel’s intent was absurdist humor. Unfortunately all the contradictory juxtaposing became a little tiresome here.

I enjoyed the show personally. And while the actors mostly succeeded in rising to the script’s demands, there was not quite enough enthusiasm and consistency to make Helen of Sparta flow seamlessly. Call it a good show that I wish had been better.

Helen of Sparta runs through August 27th. For more information please go to: http://raconteurtheatre.com/