‘The Odyssey’ makes its way from ancient Greece to today in NHTP’s new production
There is a play every season or so that you simply can’t afford to miss, a performance for which you should be collecting friends to bring along. New Hampshire Theatre Project’s U.S. premiere of David Farr’s “The Odyssey” fits that bill.

NHTP is known for fearlessly tackling meatier works, from this generation and those past. As it turns out, Odysseus’ treacherous voyage offers an apt analogy for the tedious and dangerous journeys this country has been forced to undergo during the last five years.

For those unfamiliar with Homer’s tale, it’s the story of the clever Greek general Odysseus, who, in the tenth year of the Trojan War, disguised a huge wooden horse as a gift to the Trojans. While the city slept, Greeks emerged from the horse’s belly to brutally sack Troy and vanquish the Trojans. Now Odysseus and his men must survive the journey home, with violent storms, seductive goddesses, tempting sirens and the Land of the Dead blocking their path.

Blair Hundertmark, in double duty as director and Odysseus, is nothing less than brilliant. His onstage work is so forthright, so raw and complete, that it’s exhausting to watch him as he portrays the hero’s trials. We’re right there with him when he disguises himself as a beggar to check in on his still-grieving wife, who is beleaguered with greedy suitors, and has to watch them slobber all over her with their selfish arrogance. In that same scene, when Penelope gives both the suitors and the concealed Odysseus a physical challenge at which only Odysseus has succeeded, he is able to thwart the other men; his victory and relief are as palpable as his earlier agony.

As a director, Hundertmark uses every inch of the performing space, even to the point where the actors are interacting with the audience, furthering the sensation that we’re part of the action. His use of a stark black background against the military fatigues of the crew or the flamboyant costumes of the goddesses is startling and fascinating. Most importantly, he picked the crème de la crème of Seacoast talent, mixed it together, and the end result is a delicacy.

Two of the most important ingredients are James Ryen and Kristan Raymond Robinson. In his role as the interrogator, Ryen is intimidating to the point of terrifying, and as a member of the general’s crew, he is a fiercely loyal soldier—except for the brief moments after indulging in the Lotus Flower, which brings out his inner hippie. All in all, his intensity and versatility are given a real workout. He meets every challenge dead on, and his passion and believability are mesmerizing. Robinson reveals her best-kept surprise, a glorious singing voice that resonates hauntingly in the air.

Although she performs several roles as an ensemble member with excellence, it is as Athena, Zeus’ favorite child and the goddess of war, the arts, and justice, where she completely bewitches the audience; from that point forward, we are putty in her hands.

Performances by Chris Curtis, Meghann Beauchamp and Jim Burkholder are equally stunning. Curtis gets to showcase another facet of his talents by playing several stringed instruments; Burkholder gets to show off his booming voice, and Beauchamp, a last-minute cast replacement, shows off just how well she can learn a challenging role in just a few days, and perform it with grace and skill.

Bruce K. Morris, as both lighting and set designer, is every bit as creative and brilliant as his director; his use of light and shadows and versatile set are surreal, subtle and elegant.

If there’s one play you see this season, this is the one. More than the retelling of a centuries-old story, it is an experience you’ll think about for years to come.
  
Editor’s note: Meghann Beauchamp took over the role of an ailing Lisa Richardson. Richardson, 29, a well-respected actress in the Seacoast and beyond, has been unexpectedly hospitalized with a serious illness. Her family and friends dedicate this performance to her.