by Beulah F. Vega

First things first.

Is The Epic of Gilgamesh (currently playing at Marin Shakespeare Company’s downtown theater through Feb. 23) really the oldest story ever written? That’s a question for the philologists to argue (but probably not).

It’s the tale of Gilgamesh, the first king of Uruk, who was a tyrant until the gods sent him his equal, Enkidu. Together, the brothers bring glory to their kingdom but anger the gods. The gods’ vengeance sends Gilgamesh on a journey beyond the mortal realm in search of immortality and, ultimately, on a quest for his humanity.

Regardless of age, is it worth watching a production of it performed by a motley but highly talented crew of actors using everyday objects to create the fantastical?

It absolutely is.

First-time director Nate Currier has done an impressive job of casting and, in the tradition of all shoestring theaters everywhere, making do with the tools on hand. The literally empty stage and the makeshift props and puppets are fun and compelling reminders that, at its heart, theater is about the story, and theatre artists are simply storytellers. As Lope de Vega (hopefully a relation) once said, “All you need to make theater is four boards, two actors, and a passion.” Currier’s cast has proven that concept true.

From the moment that Audrey Schultz meanders on stage with a roll of painter’s tape, the audience is hooked by her deep grounding in the space and the novelty of what she is doing with that tape. The most striking aspect of Schultz’s performance is her commitment to silence. Actors, as a general rule, are terrified of silence. It’s why playwrights like Pinter write things like ‘long pause’ into scripts. They know an actor will always want to be speaking. Schultz, however, has a unique ability to sink herself into it and bring the audience with her.

Eliot Hall’s Gilgamesh is delivered with all the bravado of an actor born to play Prince Hal but with an odd layer of weariness that keeps him relatable. Jamin Jollo is in his element in the physically demanding role of Enkidu. The rest of the cast is also makes for a fantastic ensemble. If nothing else, see the show for Richard Pallaziol’s Scorpion Husband. 

Does the play drag a bit in the second act? Yes. Are some of the rhymes more forced than they need to be? Yeah. Are you sometimes reminded that you are watching a show created and directed by a millennial? Definitely.

But have you ever sat in a dark room filled with strangers listening to an Anatolian musician (Yağmur Ali Coşkum on opening night) play the Bağlama while nobody makes a sound because the music is so compelling? If you haven’t, don’t miss your chance.

Oh, and don’t forget, it’s free.

‘The Epic of Gilgamesh’ runs through February 23 at Marin Shakespeare Company’s Center for Performing Arts, Education, and Social Justice at 514 4th St., San Rafael. Thurs-Sun 7:00pm. Admission is free—donations are appreciated. 415.388.5208. marinshakespeare.org.

Photos by Nate Currier

Click HERE to reserve your free tickets.