Playwright: Andrew Park; Score: Scott Lamps. At: Quest Theatre Ensemble at Blue Theatre, 1609 W. Gregory. Phone: 312-458-0895; Free, but reservations required. Runs through: Sept. 19
It won't be until March 2011 when the national touring company of the 2009 Tony Award-winning musical revival of Hair hits Chicago. Until then, those who want an immediate dose of 1960s-style theater filled with feel-good vibes and liberal lecturing should catch Quest Theatre Ensemble's musical The People's Drum Circle Pandora.
Pandora definitely fits with Quest's mission to be free and accessible to everyone. And if you're introducing children to Greek mythology and the wonders of live theater, you can't go wrong with Quest's visually inventive and participatory Pandora.
But for grown-ups who want a more substantive approach to exploring the Pandora myth, Quest's version will seem far too preachy and simplistic with its peppy solution to face the world's many ills.
Like the Biblical story of Eve in Garden of Eden, centuries of ugly misogyny have come from the Greek myth about Pandora opening a box to release all of the evils and human misery into the world.
In Quest's Pandora, the box opening is argued as Pandora's own personal awakening to social injustices and other people's suffering. This approach by director/show conceiver Andrew Park is a valid one and steered toward an overriding message of how we all need to be open to seeing problems around us.
But overall, the script is far too slight. As husband Epemethious and wife Pandora, Merrill Matheson and Angelica Keenan aren't given much dramatic material to work with.
The show also takes its sweet time getting started. Most of Act I ( more of a prologue, really ) is dedicated to the skilled percussionists Aimee Bass and Kim DeVore instructing audiences on how to play Quest's hand-out instruments. Then after intermission, one whole number is dedicated to the prisoners in Plato's cave analogy.
But what Quest's Pandora may lack in psychological depth and plot, its strengths lie in its large and energetic cast who sing, dance and facilitate a parade of memorably stunning and trippy visuals by scenic artists Nick Rupard and Julie Taylor, puppet designer Megan Hovany, costume designer Emma Weber and lighting designer Lee Brasuell.
It's Jason Bowen who gets to vocally shine the most as Brother Sun, the narrator of sorts. Accompanied by a backup singing trio of Sunshine Girls ( Beth Allin, Erin Renee Baumrucker and Kiley Moore ) , Bowen gets the best inspirational musical numbers composed by Scott Lamps in an upbeat 1960s pop style.
Quest's Pandora may be far too positive in an "Up with People" way. And it has two too many anthem-filled finales. But Quest does use the percussive drum circle aspect nicely to symbolize the need for everyone's contribution to make things better for the world we live in. Now who can really begrudge that?