When 50 Greek brides flee forced marriages to their 50 male cousins, they seek refuge at an Italian villa. But the adventure is only beginning for Lydia, Thyona, and Olympia, who represent the larger group. When Piero, the keeper of the villa, accepts them, at least to catch their breath poolside while he considers the potential consequences, those feisty male counterparts zip-line in by chopper and surround the piazza. World War Mee has been launched.

Adapted from Aeschylus’s The Suppliants, one of the first plays of the western world, Mee’s version explores boundaries, as the program notes: between love and hate, romance and violence, laughter and pain. And it’s the actors who shoulder the load boldly to make it all happen. Mee’s unique style asks them not only to stretch their intellectual and emotional range, but to interweave realism with physical storytelling.

The results include scenes set to choreography, and some thrilling action sequences. This dance/theater production delivers its intended visceral response. Directed by Helene Kvale with choreography by Marie Boyette, the physical approach is drawn from Pina Bausch movement, and the Apache dance form. Trust me—it’s pretty neat stuff, and gradually works to create a world on stage we buy into.

At the same time, the actors must find ways of bringing together movement and dialogue to find the truth in Mee’s text. To do all that, you had better be in shape. This company, though there are many young conservatory actors, prove able and willing, from the graceful Briana Maia as Lydia, to the fierce tribal-resister Thyona, athletically embodied by Olivia Saccomanno. When the male cousins finally share with us how difficult it is to be a man, we watch courtside as “gymnastics meets kick-boxing meets high flying calisthenics.” It’s a self-abusive Olympiad that rouses the house.

Not everything is physical. Mee’s many long speeches flow easily throughout the performance. Even though I can’t possibly absorb all of his important ideas (he comes after you constantly), there are key moments that become crystal.

As Constantine, Anthony J. Goes pleads to the audience about the true plight of men. He reveals the necessary balance between bad guys and good guys, and skillfully progresses from rage-in-motion to stillness, sharing this secret truth with deep intimacy. Later, in the play’s final verdict regarding life versus death, Bella (Libby George) offers a summation as if a Greek goddess herself. She tenderly makes her case that “love trumps all.” It’s impossible not to second her wise decision.

If you’ve never seen a Charles Mee play, this is the perfect opportunity. Bring an open mind and allow CRT’s devoted company to set you free. This production of Big Love by the Connecticut Repertory Theatre has certainly met Mee’s wonderful, theatrical challenge by taking leaps.

WNPR News: Who is Charles Mee?
Ed Wierzbicki: Charles Mee is a playwright who created the remaking project. He started to write adaptations of Greek plays he connected with, but he wanted to convey them in a contemporary voice. He made them available so theater companies could look at work that said something about today’s society, but they were re-imaginings of these great plays.

What’s the outline of Big Love?
[The play] is based on what many consider the very first play in the western world. It’s called The Suppliant Women—it has many variations on that name, but basically the story is about 50 would-be brides who refuse to marry their 50 designated cousins in this marriage pact, and they escape. They get on a boat; they leave Greece, and they just take off. They end up on this Italian island. They ask for help, and there’s a family that lives there. They consider the options. Before those options can be considered, the cousins appear, and they don’t just appear: they come in by helicopter. They zip-line in, and they surround the piazza. They pretty much say, you know, we’re the men; you’re going to marry us. And that really launches the battles between the sexes in this production.

How did you like the production?
I was captivated pretty much from start to finish. It’s a really difficult play to produce, and the simple reason is Charles Mee puts all these interesting things into his script. First of all, there are long speeches just like the old Greek plays, even though they’re in contemporary language. He asks for certain pieces of music to appear; he asks for certain dance to appear. He adds elements that he calls a “modern day vaudeville” in order to tell the story. You need a company that can deal with movement, dance, and physicality. The Connecticut Repertory Theatre does an exceptional job.

Who are the members of the company?
The Connecticut Repertory Theatre is a professional company connected to the theater arts program at UConn. It’s a combination of professional actors and actors in training. In this production, you wouldn’t be able to tell them apart.