In theater, nothing is more old-school than Aeschylus. The ancient Greek playwright, popularly considered the "father of tragedy," remains inseparable from the very origins of theater and its enduring principles. This is precisely why reluctant theatergoers are generally less than ecstatic about an Aeschylus production. Sure, his work is important and all, but what do Aeschylus' pieces say to the now? Quite a bit, it turns out, given the proper translator. Enter Will Powers, a contemporary playwright whose work, The Seven, inventively re-imagines Aeschylus' revered The Seven Against Thebes as a modern comic-tragedy, pitting two brothers against one another for control of a city. Remixing the narrative in terms of urban America, Powers manages to avoid charges of novelty by emphasizing the questions of fate and determination that lie at the core of both works. With hip-hop verve, Powers incorporates rapped soliloquies, street-dance choreography, and a wildly diverse soundtrack spun by an onstage narrator/DJ. Such a radical reinterpretation is perfectly suited for Ten Thousand Things, long known for taking narrative risks to attract nontraditional audiences. Sarah Rasmussen, in her directorial debut with the company, also brings unique insight, having collaborated with Powers during The Seven's early development phase. Assisted by an impressive circle of cast and crew, Ten Thousand Things is poised to breathe new life into ancient themes. (Photo by Peter Vitale)
Thursdays-Saturdays, 8 p.m.; Sundays, 3 p.m. Starts: Feb. 15. Continues through March 10, 2013
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