Choral Odes - The Body & Voice KC

Created in a 6-week workshop for developing vocal and stage movement, “Choral Odes” is a daring project incorporating elements of classical Greek theatre, improv, stand-up comedy, and interpretive dance into the kind of artful collage that Fringe is designed for. After a brief but humorous introduction by director, teacher, and occasional participant Jamie Morrow, the ensemble, comprised of four males, (Frederick Goudge, Jeevan Dhaker, Mason Dredge, Ron Worley) and two females (Ginger O’Toole, Julia O’Donnell), portrayed both gods and humans alike in an alternating series of vignettes. Familiar tales of Orpheus and Eurydice, Echo and Narcissus, Rhea, Gaea, Zeus, Hermes, Demeter, Dionysus, Apollo, etc. mingle within themes of pollution, destruction, feminine rage, altruism, and repressed or unnoticed voices within the fast-paced structure of the show.

The main framing device involves the gods of Olympus debating the positives and negatives on the continued existence of humanity sometimes in drawn out debate, others in a more stand-up comedy roast format. Meanwhile, the classic human tales of were performed through dance and Greek choral interludes, accompanied by instrumental music. Often interpretive dance can create barriers for the audience or be perceived as pretentious, but here, the many moments of levity helped ease that feeling. Visual gags, an alcohol-themed rant by the God of Wine himself, and a strong prerecorded monologue about oppressed, underrepresented members of society, are one of several highlights.

The actors, mainly dressed in black, would often incorporate small articles of clothing or props to denote their role in the Greek Pantheon, a simple and effective choice. Each performer, all different ages, ethnicities, and experience with the stage, had their own unique ways of approaching their characters, stories, and how they explored the space. It often felt like the actors were discovering choices in the moment, with some more aware of their bodies, choreography, and blocking than others. Some segments and dialogue had more clarity and intent, while other moments lingered. Some were brief but strong in their messaging.

The show ends with a kind call to action: to encourage the audience to find ways to help themselves and their community. Much like the creative process of this show, the performers were given an environment to refine their strengths, recognize potential faults, and develop their performance skills and storytelling. While the tone was not always consistent, the focus of the show remained pure and well intentioned. Hopefully these fresh talents will continue to explore and develop their voices in future productions.