Philadelphia Weekly

Aeschylus' The Persians is the oldest surviving play in western civilization. However the People's Light and Theatre Company's superb production of Ellen McLaughlin's adaptation is shockingly relevant.

Long before journalists embedded themselves with troops in conflict, Aeschylus was the original playwright-soldier, both a veteran of the Persian Wars and an award winning Athenian tragedian.

The tale takes place in 480 BC in the Persian capital city of Susa (modern day Iran). There the "trusted ones"--sort of the Persian Empire's equivalent of the President's cabinet--await word on the outcome of Persia's advance on Athens led by the empire's ambitious young ruler Xerxes (the excellent Mark Hairston). A victory and the Persians will rule the known world; a loss according to the trusted ones is "unthinkable." After all, the Persians have unleashed the ancient equivalent of "Shock and Awe" on the outnumbered Athenians. Surely no puny Greek city-state can withstand the "awesome parade of power" they have unleashed on their enemy. But as time passes and the trusted ones confidence begins to wane they start to question their decision to invade. Perhaps their zeal for empire building has finally clouded their judgment. Or maybe the "brazen confidence" displayed by the impulsive Xerxes (who we learn has a nasty habit of mutilating and robbing priests) has offended the gods? Particularly concerned is the Persian queen Atossa (an appropriately regal Melanye Finister) who worries about the significance of a recent dream she had where she encountered her dead husband and Persia's previous ruler Darius. The worst fears of all are confirmed with the arrival of a soldier (Miriam Hyman) with information that the entire force has been annihilated. In graphic detail the shaken soldier recounts how the Persian armada was slaughtered as a result of Xerxes' hubris and military ineptitude. In the wake of the sad news Atossa again receives a visit from the deceased Darius (Stephen Novelli) and Xerxes returns home humiliated and longing for death.

Scholars have debated whether Aeschylus intended his play to be a celebration of Athens' victory at the Battle of Salamis or a warning against the dangers of tyranny. There is no such debate about McLaughlin's taut 70-minute adaptation. Insightfully directed by Jade King Carroll the production draws clear parallels between the Bush Administration's global bullying and the Persians' xenophobic quest for world domination.

The Persians may have originally been penned in 480 BC but in 2008 the play's power has never been more evident. 2,500 years ago Xerxes faced the wrath of the gods. Today those to blame for leading America into an unfortunate war have only to face the wrath of the voters.

The Spitfire Grill

The Bristol Riverside Theatre gets their 2008-9 season off to a tepid start with director Edward Keith Baker's lackluster staging of the 2001 musical The Spitfire Grill. Adapted from the same-titled 1996 film, Spitfire is a sentimental, predictable tale about salvation in rural America. Created by James Valcq (music and book) and Fred Alley (lyrics), the story follows Percy (the capable Erin Mosher). Just released from jail she decides to head for the rural town of Gilead, Wisconsin, a place full of scenic wonders but low on jobs. Nevertheless with the aid of a benevolent sheriff Percy is immediately hired at the town's only caf� The Spitfire Grill (which in Sean Goff's dull scenic design is completely lacking in character) by the Grill's hardy proprietor Hannah (Diane J. Findlay in a strong performance). The songs in Grill's folksy score are modestly pleasing but Valcq's emotionally manipulative book is ridden with clich�s. We see every plot twist coming and the characters (although ably played by the cast) are little more than the usual collection of small town stereotypes.In the American Folk Drama tradition, the salt-of-the-earth folks in Gilead have fallen victim to greedy city slickers and a highway that passed them by. Bristol's production is mildly involving, but the show's premise that somehow a town with a bleak future and a woman with a checkered past can redeem one another is ultimately unconvincing. (J.C.R.)