"This work began many years ago over some wine during a late night conversation with poet and priestess Timotha Doane. Discussing how Medusa was raped by Poseidon in Athena’s Temple then turned into a monster by Athena as punishment for desecrating her temple, I asked, "Would Athena have really blamed the victim?' Timotha answered, 'I don’t think so. Perhaps, Athena was giving Medusa a new role.' I thought long and hard about this. I had always been a fan of Medusa. As a young boy, I was often ridiculed for being "feminine" and yet literally all of my heroes and idols were women. I was particularly drawn to characters like the wicked witches and evil queens. As a kid who craved both the freedom to be feminine but also required protection from bullies, I saw these figures as powerful, and suspected their stories were more nuanced and complex. Medusa fell into this category. But as I delved deeper into her story, I saw the origins of European patriarchy played out in her myth. Soon after my conversation with Timotha in 2010, I wrote the first scene of Medusa. Then I put it on a shelf for a few years, knowing she would come out when she wanted.
During the 2016 presidential campaign, Medusa started to tell her story to me. The writing flowed effortlessly, sometimes deep into the night and morning. Plot turns and characters I had not imagined would be important asserted themselves. I was continually surprised by what they had to say.
After finishing the first two acts, I was privileged to go on an extraordinary trip to Greece, including Crete, Athens, Santorini, and Eleusis. Guided by my dear friend Elizabeth Chloe Erdmann who gives tours to ancient Goddess sites, shrines, and caves. The trip confirmed many of my creative hunches, allowing me to fill in gaps in the story.
During the 2016 presidential campaign, Medusa started to tell her story to me. The writing flowed effortlessly, sometimes deep into the night and morning. Plot turns and characters I had not imagined would be important asserted themselves. I was continually surprised by what they had to say.
After finishing the first two acts, I was privileged to go on an extraordinary trip to Greece, including Crete, Athens, Santorini, and Eleusis. Guided by my dear friend Elizabeth Chloe Erdmann who gives tours to ancient Goddess sites, shrines, and caves. The trip confirmed many of my creative hunches, allowing me to fill in gaps in the story.
In 2018 James Wetzel, co-producer of adult programs at the Museum of Science, reached out to have a conversation about what vision Mr. Fox might have for the space. After seeing the wonderful work our friends like Walter Sickert, Mary Bichner, LAB, Ruby Rose Fox, and Mali Sastri have been producing in the Charles Hayden Planetarium, we were very excited to collaborate, particularly focusing on the visual possibilities for the dome. After speaking with me and Mr. Fox's booking/promo/mastermind Anna Rae, we all agreed the planetarium would be the perfect venue to premiere Medusa, - customizing a live music, audio, and visual piece for the space.
After completing the final act, the band did a reading in Nathan and Eileen’s living room, followed by many more edits as Nathan and I developed the concept for the story specific to the Charles Hayden Planetarium. Ruth and Norah came on board to create the animation. Then we booked dates in the studio, and casting of voice actors from NYC, Boston, NJ, NH, RI, and Cape Ann. We licensed the use of the gorgeous Medusa above from Krina Vronti, an artist who operates Athena's Workshop Designs in Athens, Greece.
We had an incredibly vibrant and creative weekend recording at Bang-A-Song Studio in Gloucester MA captained by Warren Babson (during a snow storm). The audio play was deftly directed by Eileen Little who did double-duty as actor. The cast includes Laura Crook, Eileen Little, Elizabeth Chloe Erdmann, Richard Thierot, Miss Mary Mac, Aurelia Nelson, David Crawshaw, Elinor Teele, Dan Loser, Seth Chatfield, Nadia deLemeny, Natalie Hegg, Dennis Monagle, Renee Dupuis, Amanda Cook, Stephen Libby, and few other surprise guests!
Ruth Lingford and I flew to Albuquerque to collaborate with Norah Solorzano on the animation. We brought a large group of friends and fans into the studio to be our cheering and jeering crowds. Eileen, Nathan, and I spent hours selecting the best takes of the voice actors, and Nathan spearheaded creating sound effects, ambience, and foley. James Wetzel and the MoS staff were wonderfully supportive and enthusiastic from the beginning, and their tireless efforts were central to bringing this project to life. This has literally been years in the making. We are thrilled to bring Medusa alive and share her with you!"
- Brian King
singer-songwriter, playwright, co-producer
After completing the final act, the band did a reading in Nathan and Eileen’s living room, followed by many more edits as Nathan and I developed the concept for the story specific to the Charles Hayden Planetarium. Ruth and Norah came on board to create the animation. Then we booked dates in the studio, and casting of voice actors from NYC, Boston, NJ, NH, RI, and Cape Ann. We licensed the use of the gorgeous Medusa above from Krina Vronti, an artist who operates Athena's Workshop Designs in Athens, Greece.
We had an incredibly vibrant and creative weekend recording at Bang-A-Song Studio in Gloucester MA captained by Warren Babson (during a snow storm). The audio play was deftly directed by Eileen Little who did double-duty as actor. The cast includes Laura Crook, Eileen Little, Elizabeth Chloe Erdmann, Richard Thierot, Miss Mary Mac, Aurelia Nelson, David Crawshaw, Elinor Teele, Dan Loser, Seth Chatfield, Nadia deLemeny, Natalie Hegg, Dennis Monagle, Renee Dupuis, Amanda Cook, Stephen Libby, and few other surprise guests!
Ruth Lingford and I flew to Albuquerque to collaborate with Norah Solorzano on the animation. We brought a large group of friends and fans into the studio to be our cheering and jeering crowds. Eileen, Nathan, and I spent hours selecting the best takes of the voice actors, and Nathan spearheaded creating sound effects, ambience, and foley. James Wetzel and the MoS staff were wonderfully supportive and enthusiastic from the beginning, and their tireless efforts were central to bringing this project to life. This has literally been years in the making. We are thrilled to bring Medusa alive and share her with you!"
- Brian King
singer-songwriter, playwright, co-producer
"The Medusa’s story is deeply resonant. It is a visceral myth that reminds us that all too often a woman is separated from her own body, her own self, and sometimes her own life. Be it by specific laws that change her trajectory or the brutality of rape; and all the subtle betrayals in between, she is either punished for her choices, or is robbed of her very essence- the result is a woman who is silenced and regarded as either monster or trophy.
Since the early months of the #metoo movement I have been a public participant. As a result, I have delved into the complexities and intersections of assault, bystander effect, bearing witness and accountability. The role of Athena met me at these crossroads. It was an honor to give her voice."
- LAURA CROOK (ATHENA)
actor, writer, activist
Since the early months of the #metoo movement I have been a public participant. As a result, I have delved into the complexities and intersections of assault, bystander effect, bearing witness and accountability. The role of Athena met me at these crossroads. It was an honor to give her voice."
- LAURA CROOK (ATHENA)
actor, writer, activist
"Medusa has been such a satisfying project to work on. The story Brian came up with is rich with opportunities to explore. We have spent so much time dissecting and re-working elements of the story and streamlining the script, and still I find it compelling. The characters are vibrant and even though it is set in ancient Greece, the story is so relevant to our present-day conversations about cultural norms surrounding sexual assault and harassment.
This show works on many levels. It dives headlong into conversations around gender, patriarchy and class structure, explores archetypal characters and relationships, but it also plays as an epic adventure saga. It's the kind of show you could take your sexist uncle to. He'd be drawn in by the story, the animation, and the music. And if we've done our job, once it's over he might be interested in unpacking just a little bit of his own story or at least thinking about the world he lives in slightly differently.
Transformation is at the heart of most of the work Mr. Fox? does. But there isn't really an agenda. Instead, we hope to create a space for people to engage in the show in a way that is meaningful to them. Instead of propelling the narrative, the songs have been designed as emotional responses to the narrative. They aren't specific to the action of the story but hopefully will create a space for the listeners to process the themes of the show in ways that are personal to themselves."
- NATHAN COHEN co-producer, songwriter, musician, editor, sound design
This show works on many levels. It dives headlong into conversations around gender, patriarchy and class structure, explores archetypal characters and relationships, but it also plays as an epic adventure saga. It's the kind of show you could take your sexist uncle to. He'd be drawn in by the story, the animation, and the music. And if we've done our job, once it's over he might be interested in unpacking just a little bit of his own story or at least thinking about the world he lives in slightly differently.
Transformation is at the heart of most of the work Mr. Fox? does. But there isn't really an agenda. Instead, we hope to create a space for people to engage in the show in a way that is meaningful to them. Instead of propelling the narrative, the songs have been designed as emotional responses to the narrative. They aren't specific to the action of the story but hopefully will create a space for the listeners to process the themes of the show in ways that are personal to themselves."
- NATHAN COHEN co-producer, songwriter, musician, editor, sound design
“What drew me to the role of Medusa in King’s play is how he empowers her character—not by simply making her a victim turned vicious “monster” who seeks vengeance on those that hurt her—but instead showing how wisdom and compassion ultimately direct her life. The Medusa then becomes, in this telling, one that protects the sacredness and mysteries that allow life to flourish on Earth. This stands in stark contrast to the traditional plot of hero meets monster, kills monster and is glorified. King takes his audience by the hand into an entirely new but ancient myth that sparks with fresh, and wickedly needed, treasures of critical insight for our own society. I also am refreshed by the development of the relationships between Athena and Medusa as being full of depth and complexity.
Being a long time fan of What Time Is It, Mr.Fox? I know how their musical range and abilities can connect the audience personally with the heavy themes of social justice, sexism, consent, heteronormativity and marginalization as well as bring the ancient world of ritual, magic and mythology to life in an extraordinary fashion. I feel personally connected to the themes in this play because my life’s work involves exploring feminist, and often, nomadic thealogies. Also I return to Crete every summer to co-lead pilgrimages to the sites of the ancient Minoans who are an inspiration for our modern world in the graceful and joyful energy they have left behind as their legacy. Last summer Brian and I had the opportunity to explore Crete, Santorini and Athens together while he was doing research for the play and our experiences themselves felt legendary. It was thrilling to be playing detectives for the making of a great piece of art that would be shared in the future.
I love this radical alternative to the popular myth of Medusa which creatively subverts the hegemonic versions which see Athena as simply wickedly punishing her and heroes being rewarded for beheading an essentially blameless hybrid. I connect with this off road rendition because I believe transforming powerful symbols can lead to transforming society. In order to move a standing army people are wrapped in stories to motivate them—there is a magical craft not only telling myths but choosing which ones and which versions are told—and glorified in a society. This is a myth worth hearing and being selected for repeat and I am thrilled to be in their midst.”
- ELIZABETH CHLOE ERDMANN (MEDUSA) feminist scholar, priestess, voice actor)
Being a long time fan of What Time Is It, Mr.Fox? I know how their musical range and abilities can connect the audience personally with the heavy themes of social justice, sexism, consent, heteronormativity and marginalization as well as bring the ancient world of ritual, magic and mythology to life in an extraordinary fashion. I feel personally connected to the themes in this play because my life’s work involves exploring feminist, and often, nomadic thealogies. Also I return to Crete every summer to co-lead pilgrimages to the sites of the ancient Minoans who are an inspiration for our modern world in the graceful and joyful energy they have left behind as their legacy. Last summer Brian and I had the opportunity to explore Crete, Santorini and Athens together while he was doing research for the play and our experiences themselves felt legendary. It was thrilling to be playing detectives for the making of a great piece of art that would be shared in the future.
I love this radical alternative to the popular myth of Medusa which creatively subverts the hegemonic versions which see Athena as simply wickedly punishing her and heroes being rewarded for beheading an essentially blameless hybrid. I connect with this off road rendition because I believe transforming powerful symbols can lead to transforming society. In order to move a standing army people are wrapped in stories to motivate them—there is a magical craft not only telling myths but choosing which ones and which versions are told—and glorified in a society. This is a myth worth hearing and being selected for repeat and I am thrilled to be in their midst.”
- ELIZABETH CHLOE ERDMANN (MEDUSA) feminist scholar, priestess, voice actor)
