Cast List for the Greek Mythology Olympiaganza in Order of Appearance

Total Page:16

File Type:pdf, Size:1020Kb

Cast List for the Greek Mythology Olympiaganza in Order of Appearance Cast List for The Greek Mythology Olympiaganza In order of appearance NARRATOR: Emily Szmurlo NARRATOR: Samantha Manuele NARRATOR: Jason Robinson NARRATOR: Emma Riesel CRONOS: Noah Grant RHEA: Alexis Rocco PROMETHEUS: Matthew Kelsey URANUS: Bailey Metzger THERAPIST: Allison Davis ZEUS: Jason Crumb CHILD: Natalie Robinson MOTHER: Kylie McGowan FATHER: Matthew Yaddaw TITAN: Nicolas Sovare MAN 1: Owen Davison MAN 2: Noah Plumb WOMAN 1: Bailey Metzger PANDORA: Isabella Mazur POLICE OFFICER: Kayley Smith LEDA: Arianna Robinson APHRODITE: Zoe Bartholomew HERMES: Quinn Haggerty HERA: Jillian Sacco JOEY: Matthew Yaddaw HERCULES: Noah Plumb ALCMENE: Alexis Rocco GUIDANCE COUNSELOR: Kylie McGowan BOSS: Meghan Brewer WOMAN 2: Zoe Bartholomew TV NEWS ANCHOR: Natalie Robinson HERCULES’ DANCE TEAM: Zoe Bartholomew, Meghan Brewer, Jason Crumb, and Natalie Robinson JASON: Matthew Kelsey ATALANTA: Lauren Stephens ORPHEUS: Jason Crumb CASTOR: Douglas Flory POLLUX: Katherine Hansson EUPHEMUS: Griffin Catello HARPIES/SIRENS/LONELY SINGLE WOMEN/MEDEA: Sophia Larish ZOMBIES: Zoe Bartholomew, Meghan Brewer, Griffin Catello, Amanda Clarey, Allison Davis, Juliana Dee, Loghan Ingerson, Isabella Mazur, Bailey Metzger, Jillian Sacco, Kayley Smith, Arianna Robinson, Natalie Robinson, Nicolas Sovare, Matthew Yaddaw BROTHER: Jase Smith MIME GIRL: Julia Hutchins MIME CHILDREN: Griffin Catello and Natalie Robinson ACTOR: Amanda Clarey LINUS: Jase Smith CHILD 1: Madison Dee CHILD 2: Juliana Dee MARYSAS: Zoe Bartholomew APOLLO: Douglas Flory DAEDALUS: Jason Crumb SUE: Kylie McGowan KING: Quinn Haggerty BOB: Matthew Yaddaw ICARUS: Samuel Huyck ACTORS: Zoe Bartholomew, Allison Davis, Margaret Edwards, Noah Plumb, Matthew Yaddaw MONSTER: Noah Plumb EURYDICE: Juliana Dee CHARON: Madison Crossland HADES: Noah Grant FURIES: Zoe Bartholomew, Meghan Brewer, Amanda Clarey, Allison Davis, Margaret Edwards, Alessandra Feldman, Katherine Hansson, Julia Hutchins, Loghan Ingerson, Sophia Larish, Isabella Mazur, Bailey Metzger, Arianna Robinson, Natalie Robinson, Jillian Sacco, Kayley Smith, Lauren Stephens ACTOR 2: Meghan Brewer TROJAN 1: Nicolas Sovare GREEK 1: Julia Hutchins GREEK 2: Arianna Robinson ACHILLES: Griffin Catello HECTOR: Douglas Flory TROJAN CHEERLEADER: Loghan Ingerson TROJAN 2: Samuel Huyck ATHENA: Kayley Smith PARIS: Owen Davison MC: Lauren Stephens HELEN: Alessandra Feldman MENELAUS: Quinn Haggerty TRICIA: Margaret Edwards GREEK SOLDIERS/DANCERS: Jason Crumb, Madison Dee, Noah Grant, Katherine Hansson, Julia Hutchins, Sophia Larish, Kylie McGowan, Bailey Metzger, Arianna Robinson, Alexis Rocco, and Lauren Stephens, TROJAN SOLDIERS/DANCERS: Meghan Brewer, Allison Davis, Juliana Dee, Samuel Huyck, Matthew Kelsey, Isabella Mazur, Noah Plumb, Jase Smith, Nicolas Sovare, and Matthew Yaddaw .
Recommended publications
  • Sophocles, Ajax, Lines 1-171
    SophoclesFourTrag-00Bk Page 2 Thursday, July 26, 2007 3:56 PM Ajax: Cast of Characters ATHENA goddess of wisdom, craft, and strategy ODYSSEUS a Greek commander from Ithaca AJAX the son of Telamon and a Greek commander from Salamis CHORUS of Salaminian warriors TECMESSA a Phrygian captive, wife of Ajax MESSENGER from the Greek camp, loyal to Teucer TEUCER the half-brother of Ajax, son of Telamon and Hesione, a Trojan MENELAUS the youngest son of Atreus and a Greek commander from Sparta AGAMEMNON the eldest son of Atreus from Mycenae and the supreme commander of the Greeks at Troy Nonspeaking Roles EURYSACES the young son of Ajax and Tecmessa ATTENDANTS Casting In the original production at the Theatre of Dionysus, the division of roles between the three speaking actors may have been as follows: 1. Ajax, Agamemnon 2. Athena, Messenger, Teucer 3. Tecmessa, Menelaus, Odysseus After line 1168, a nonspeaking actor played the role of Tecmessa. This translation is based on a version developed by Peter Meineck for the Aquila Theatre Company in 1993 for a U.S. tour. The original cast included Donald T. Allen, Tony Longhurst, James Moriarty, Yasmin Sidhwa, and Andrew Tansey. Division of roles: The parts can also be divided as follows: (1) Ajax, Teucer; (2) Odysseus, Tecmessa; (3) Athena, Messenger, Menelaus, Agamemnon. 2 SophoclesFourTrag-00Bk Page 3 Thursday, July 26, 2007 3:56 PM Ajax SCENE: Night. The Greek camp at Troy. It is the ninth year of the Trojan War, after the death of Achilles. Odysseus is following tracks that lead him outside the tent of Ajax.
    [Show full text]
  • Gillian Bevan Is an Actor Who Has Played a Wide Variety of Roles in West End and Regional Theatre
    Gillian Bevan is an actor who has played a wide variety of roles in West End and regional theatre. Among these roles, she was Dorothy in the Royal Shakespeare Company revival of The Wizard of Oz, Mrs Wilkinson, the dance teacher, in the West End production of Billy Elliot, and Mrs Lovett in the West Yorkshire Playhouse production of Stephen Sondheim’s Sweeney Todd, the Demon Barber of Fleet Street. Gillian has regularly played roles in other Sondheim productions, including Follies, Merrily We Roll Along and Road Show, and she sang at the 80th birthday tribute concert of Company for Stephen Sondheim (Donmar Warehouse). Gillian spent three years with Alan Ayckbourn’s theatre-in-the-round in Scarborough, and her Shakespearian roles include Polonius (Polonia) in the Manchester Royal Exchange Theatre production of Hamlet (Autumn, 2014) with Maxine Peake in the title role. Gillian’s many television credits have included Teachers (Channel 4) in which she played Clare Hunter, the Headmistress, and Holby City (BBC1) in which she gave an acclaimed performance as Gina Hope, a sufferer from Motor Neurone Disease, who ends her own life in an assisted suicide clinic. During the early part of 2014, Gillian completed filming London Road, directed by Rufus Norris, the new Artistic Director of the National Theatre. In the summer of 2014 Gillian played the role of Hera, the Queen of the Gods, in The Last Days of Troy by the poet and playwright Simon Armitage. The play, a re-working of The Iliad, had its world premiere at the Manchester Royal Exchange Theatre and then transferred to Shakespeare’s Globe Theatre, London.
    [Show full text]
  • Sons and Fathers in the Catalogue of Argonauts in Apollonius Argonautica 1.23-233
    Sons and fathers in the catalogue of Argonauts in Apollonius Argonautica 1.23-233 ANNETTE HARDER University of Groningen [email protected] 1. Generations of heroes The Argonautica of Apollonius Rhodius brings emphatically to the attention of its readers the distinction between the generation of the Argonauts and the heroes of the Trojan War in the next genera- tion. Apollonius initially highlights this emphasis in the episode of the Argonauts’ departure, when the baby Achilles is watching them, at AR 1.557-5581 σὺν καί οἱ (sc. Chiron) παράκοιτις ἐπωλένιον φορέουσα | Πηλείδην Ἀχιλῆα, φίλωι δειδίσκετο πατρί (“and with him his wife, hold- ing Peleus’ son Achilles in her arms, showed him to his dear father”)2; he does so again in 4.866-879, which describes Thetis and Achilles as a baby. Accordingly, several scholars have focused on the ways in which 1 — On this marker of the generations see also Klooster 2014, 527. 2 — All translations of Apollonius are by Race 2008. EuGeStA - n°9 - 2019 2 ANNETTE HARDER Apollonius has avoided anachronisms by carefully distinguishing between the Argonauts and the heroes of the Trojan War3. More specifically Jacqueline Klooster (2014, 521-530), in discussing the treatment of time in the Argonautica, distinguishes four periods of time to which Apollonius refers: first, the time before the Argo sailed, from the beginning of the cosmos (featured in the song of Orpheus in AR 1.496-511); second, the time of its sailing (i.e. the time of the epic’s setting); third, the past after the Argo sailed and fourth the present inhab- ited by the narrator (both hinted at by numerous allusions and aitia).
    [Show full text]
  • STONEFLY NAMES from CLASSICAL TIMES W. E. Ricker
    ZOBODAT - www.zobodat.at Zoologisch-Botanische Datenbank/Zoological-Botanical Database Digitale Literatur/Digital Literature Zeitschrift/Journal: Perla Jahr/Year: 1996 Band/Volume: 14 Autor(en)/Author(s): Ricker William E. Artikel/Article: Stonefly names from classical times 37-43 STONEFLY NAMES FROM CLASSICAL TIMES W. E. Ricker Recently I amused myself by checking the stonefly names that seem to be based on the names of real or mythological persons or localities of ancient Greece and Rome. I had copies of Bulfinch’s "Age of Fable," Graves; "Greek Myths," and an "Atlas of the Ancient World," all of which have excellent indexes; also Brown’s "Composition of Scientific Words," And I have had assistance from several colleagues. It turned out that among the stonefly names in lilies’ 1966 Katalog there are not very many that appear to be classical, although I may have failed to recognize a few. There were only 25 in all, and to get even that many I had to fudge a bit. Eleven of the names had been proposed by Edward Newman, an English student of neuropteroids who published around 1840. What follows is a list of these names and associated events or legends, giving them an entomological slant whenever possible. Greek names are given in the latinized form used by Graves, for example Lycus rather than Lykos. I have not listed descriptive words like Phasganophora (sword-bearer) unless they are also proper names. Also omitted are geographical names, no matter how ancient, if they are easily recognizable today — for example caucasica or helenica. alexanderi Hanson 1941, Leuctra.
    [Show full text]
  • Greek Mythology
    Greek Mythology The Creation Myth “First Chaos came into being, next wide bosomed Gaea(Earth), Tartarus and Eros (Love). From Chaos came forth Erebus and black Night. Of Night were born Aether and Day (whom she brought forth after intercourse with Erebus), and Doom, Fate, Death, sleep, Dreams; also, though she lay with none, the Hesperides and Blame and Woe and the Fates, and Nemesis to afflict mortal men, and Deceit, Friendship, Age and Strife, which also had gloomy offspring.”[11] “And Earth first bore starry Heaven (Uranus), equal to herself to cover her on every side and to be an ever-sure abiding place for the blessed gods. And earth brought forth, without intercourse of love, the Hills, haunts of the Nymphs and the fruitless sea with his raging swell.”[11] Heaven “gazing down fondly at her (Earth) from the mountains he showered fertile rain upon her secret clefts, and she bore grass flowers, and trees, with the beasts and birds proper to each. This same rain made the rivers flow and filled the hollow places with the water, so that lakes and seas came into being.”[12] The Titans and the Giants “Her (Earth) first children (with heaven) of Semi-human form were the hundred-handed giants Briareus, Gyges, and Cottus. Next appeared the three wild, one-eyed Cyclopes, builders of gigantic walls and master-smiths…..Their names were Brontes, Steropes, and Arges.”[12] Next came the “Titans: Oceanus, Hypenon, Iapetus, Themis, Memory (Mnemosyne), Phoebe also Tethys, and Cronus the wily—youngest and most terrible of her children.”[11] “Cronus hated his lusty sire Heaven (Uranus).
    [Show full text]
  • Seven Against Thebes [PDF]
    AESCHYLUS SEVEN AGAINST THEBES Translated by Ian Johnston Vancouver Island University, Nanaimo, BC, Canada 2012 [Reformatted 2019] This document may be downloaded for personal use. Teachers may distribute it to their students, in whole or in part, in electronic or printed form, without permission and without charge. Performing artists may use the text for public performances and may edit or adapt it to suit their purposes. However, all commercial publication of any part of this translation is prohibited without the permission of the translator. For information please contact Ian Johnston. TRANSLATOR’S NOTE In the following text, the numbers without brackets refer to the English text, and those in square brackets refer to the Greek text. Indented partial lines in the English text are included with the line above in the reckoning. Stage directions and endnotes have been provided by the translator. In this translation, possessives of names ending in -s are usually indicated in the common way (that is, by adding -’s (e.g. Zeus and Zeus’s). This convention adds a syllable to the spoken word (the sound -iz). Sometimes, for metrical reasons, this English text indicates such possession in an alternate manner, with a simple apostrophe. This form of the possessive does not add an extra syllable to the spoken name (e.g., Hermes and Hermes’ are both two-syllable words). BACKGROUND NOTE Aeschylus (c.525 BC to c.456 BC) was one of the three great Greek tragic dramatists whose works have survived. Of his many plays, seven still remain. Aeschylus may have fought against the Persians at Marathon (490 BC), and he did so again at Salamis (480 BC).
    [Show full text]
  • Duke Certamen 2018 Intermediate Division Round 1
    DUKE CERTAMEN 2018 INTERMEDIATE DIVISION ROUND 1 1. Which emperor reformed the Praetorian Guard, replacing it with his loyal provincial troops upon his ascension? SEPTIMIUS SEVERUS B1: At which city did his troops declare Severus emperor? CARNUNTUM B2: Which of his two main rivals did Severus defeat first? PESCENNIUS NIGER 2. Differentiate in meaning between lupus and lepus. WOLF and HARE / RABBIT B1: Give a synonym for the animal bōs. VACCA / VITULA B2: Give either Latin animal from which we derive “porpoise.” PORCUS or PISCIS 3. Europa, Minos, Procris, and Amphitryon all owned what infallible hunting hound? LAELAPS B1: What husband of Procris tried to use Laelaps to hunt the Teumessian vixen? CEPHALUS B2: According to Hyginus, Cephalus was the father of what Ithacan man? LAERTES 4. Give the Latin and English for the abbreviation Rx. RECIPE – TAKE B1: If your prescription label tells you to take your medication prn., how often should you take it? AS NEEDED B2: Give the Latin and English for the abbreviation gtt. GUTTAE – DROPS 5. Translate the following sentence from Latin to English: Mulierēs quae ducēs factae erant fortiōrēs quam omnēs erant. THE WOMEN WHO HAD BECOME / BEEN MADE LEADERS WERE STRONGER / BRAVER THAN ALL B1: Translate this sentence: Hannibal ipse cum hīs mulieribus pūgnāre nōluit. HANNIBAL HIMSELF DID NOT WANT TO FIGHT (WITH) THESE WOMEN B2: Finally translate: Urbe servātā dūcibus triumphī ā cīvibus datī sunt. AFTER THE CITY WAS SAVED / WITH THE CITY HAVING BEEN SAVED, TRIUMPHS WERE GIVEN TO/FOR THE LEADERS BY THE CITIZENS 6. What son of Cephissus and Liriope fell in love with his own reflection, died of starvation, and was turned into a flower? NARCISSUS B1.
    [Show full text]
  • The Classical Mythology of Milton's English Poems
    YALE STUDIES IN ENGLISH ALBERT S. COOK, Editor VIII THE CLASSICAL MYTHOLOGY OF Milton's English poems CHARLES GROSVENOR OSGOOD, Ph.D. NEW YORK HENRY HOLT AND COMPANY igoo Ss9a Copyright, igoo, BY CHARLES GROSVENOR OSGOOD, Ph.D. J^ 7/SS TO PROFESSQR ALBERT S. COOK AND PROFESSOR THOMAS D. SEYMOUR — PREFACE The student who diligently peruses the lines of a great poem may go far toward a realization of its char- acter. He may appreciate, in a degree, its loveliness, strength, and direct hold upon the catholic truth of life. But he will be more sensitive to these appeals, and receive gifts that are richer and less perishable, accord- ing as he comprehends the forces by whose interaction the poem was produced. These are of two kinds the innate forces of the poet's character, and certain more external forces, such as, in the case of Milton, are represented by Hellenism and Hebraism. Their activ- ity is greatest where they meet and touch, and at this point their nature and measure are most easily dis- cerned. From a contemplation of the poem in its gene- sis one returns to a deeper understanding and enjoyment of it as a completed whole. The present study, though it deals with but one of the important cultural influ- ences affecting Milton, and with it but in part, endeav- ors by this method to deepen and clarify the apprecia- tion of his art and teaching. My interest in the present work has found support and encouragement in the opinions of Mr. Churton Collins, as expressed in his valuable book.
    [Show full text]
  • Ancient Greek Culture, with Its Myths, Philosophical Schools, Wars, Means of Warfare, Had Always a Big Appeal Factor on Me
    Södertörns högskola | Institutionen för Humaniora Kandidatuppsats 15 hp | Litteraturvetenskap | Höstterminen 2009 This war will never be forgotten – a study of intertextual relations between Homer’s Iliad and Wolfgang Petersen’s Troy Av: Ieva Kisieliute Handledare: Ola Holmgren Table of contents Introduction 3 Theory and method 4 Previous research and selection of material 6 Men behind the Iliad and Troy 7 The Iliad meets Troy 8 Based on, adapted, inspired – levels of intertextuality 8 Different mediums of expression 11 Mutations of the Iliad in Troy 14 The beginning 14 The middle 16 The end 18 Greece vs. Troy = USA vs. Iraq? Possible Allegories 20 Historical ties 21 The nobility of war 22 Defining a hero 25 Metamorphosis of an ancient hero through time 26 The environment of breeding heroes 28 Achilles 29 A torn hero 31 Hector 33 Are Gods dead? 36 Conclusions 39 List of works cited 41 Introduction Ancient Greek culture, with its myths, philosophical schools, wars, means of warfare, had always a big appeal factor on me. I was always fascinated by the grade of impact that ancient Greek culture still has on us – contemporary people. How did it travel through time? How is it that the wars we fight today co closely resemble those of 3000 years ago? While weaving ideas for this paper I thought of means of putting the ancient and the modern together. To find a binding material for two cultural products separated by thousands of years – Homer‟s the Iliad and Wolfgang Petersen‟s film Troy. The main task for me in this paper is to see the “travel of ideas and values” from the Iliad to Troy.
    [Show full text]
  • The Odyssey Homer's
    Excerpt terms and conditions This excerpt is available to assist you in the play selection process. You may view, print and download any of our excerpts for perusal purposes. Excerpts are not intended for performance, classroom or other academic use. In any of these cases you will need to purchase playbooks via our website or by phone, fax or mail. A short excerpt is not always indicative of the entire work, and we strongly suggest reading the whole play before planning a production or ordering a cast quantity. HOMER’S THE ODYSSEY Drama by GREGORY A. FALLS and KURT BEATTIE ph: 800-448-7469 www.dramaticpublishing.com The Odyssey (Falls and Beattie) © Dramatic Publishing Company Odyssey (Falls and Beattie - O77) OUTSIDE COVER.indd 1 10/20/2011 4:45:41 PM THE ODYSSEY TYA/USA Outstanding Play Award Winner Produced at the John F. Kennedy Center for the Performing Arts and nationally applauded in professional productions, this is an action-filled adaptation of Homer’s classic, entertaining to children and adults alike. Suitable for a versatile ensemble cast implementing masks, songs, mime and percussive instruments for theatrical effect. Drama. Adapted by Gregory A. Falls and Kurt Beattie. From Homer’s The Odyssey. Cast: 6m., 2w., with doubling, or up to 36 (6m., 2w., 28 either gender). As the goddess Athena introduces the story of Odysseus’ epic journey home from the Trojan War, we see his beautiful wife, Penelope, fending off impatient, would-be suitors. Athena, disguised as an old man, brings news of Odysseus’ journey as the play’s action segues to his adventure.
    [Show full text]
  • Abu Dhabi Review: Ferocious, 21St Century Retelling of Homer's Iliad
    Abu Dhabi Review: Ferocious, 21st Century Retelling of Homer’s Iliad starring Denis O’Hare at NYU Abu Dhabi The National, By: Rob Garratt, March 15 2017 War is eternal, the urge to create conflict a deep-seated human impulse – that's the depressing, sledgehammer take-home from An Iliad, a modern one-man retelling of Homer's epic poem currently running at The Arts Centre at NYU Abu Dhabi. Actor Denis O'Hare during a dress rehearsal for An Iliad at The Arts Centre at NYU Abu Dhabi. Courtesy NYU Abu Dhabi War is eternal, the urge to create conflict a deep-seated human impulse – that’s the depressing, sledgehammer take-home from An Iliad, a modern one-man retelling of Homer’s epic poem currently running at The Arts Centre at NYU Abu Dhabi. At the evening’s emotional climax, our narrator spouts a list of dozens of conflicts, from ancient times right up to Aleppo. What slaps the psyche hardest is not just the length of the list, but how many of these wars you might never have heard of – and the fatigue inspired by merely hearing the names of the ones you have. Star and co-writer Denis O’Hare’s (True Blood) solo turn as our haggered, bewildered bard is a ferocious tour de force, the Tony winner stalking the Red Theatre’s stark stage with an crusty charisma and commanding physicality. The Storyteller’s purpose is never made clear – nor is the role of the acknowledged audience, the fourth wall distinctly broken by some early call and response.
    [Show full text]
  • Choose the Best Answer
    CONTEST CODE: 09 2015 TEXAS STATE JUNIOR CLASSICAL LEAGUE MYTHOLOGY TEST DIRECTIONS: Please mark the letter of the correct answer on your scantron answer sheet. 1. Earth-Shaker; god of the seas (A) Alcyoneus (B) Hades (C) Poseidon (D) Vulcan 2. The gods of Greece live on this mountain top (A) Aetna (B) Helicon (C) Olympus (D) Pelion 3. These woman were the Personification of beauty (A) Eumenides (B) Graces (C) Pierides (D) Telchines 4. A giant lion, invulnerable to weapons; he lived in this area when Heracles killed him (A) Erymanthus (B) Lerna (C) Nemea (D) Stymphalus 5. As an infant, he and his mother are put into a chest and dropped in the sea; rescued by a fisherman (A) Alpheus (B) Hippomenes (C) Melanion (D) Perseus 6. She was an Underworld goddess; a Titaness who had retained her position (A) Aurora (B) Hecate (C) Nemesis (D) Themis 7. This Gorgon’s stare could turn you into stone (A) Alecto (B) Euryale (C) Medusa (D) Terpsicrate 8. This powerful monster defeated Zeus at first, but was later conquered by the thunderbolts of Zeus (A) Cacus (B) Geryon (C) Phaea (D) Typhoeus 9. They were sent to punish the guilty and wicked (A) Fates (B) Furies (C) Graces (D) Graeae 10. Epimetheus accepted this woman as a gift from Zeus; but she was too curious and opened the box (A) Ariadne (B) Ismene (C) Leucothea (D) Pandora 11. She was the Muse of Comedy (A) Alecto (B) Euryale (C) Pemphredo (D) Thalia 12. He ignored his father’s instructions and flew too close to the sun; his wings fell apart (A) Cycnus (B) Icarus (C) Haemon (D) Xuthus 13.
    [Show full text]