This is the third production (though the first two were staged readings) I have seen by Taffety Punk in recent months that is based on a classical source of some kind (Shakespeare and the Bible, in the first cases).
What did I think? Excellent, enjoyable, and problematic. The play was written to sound explicitly like an English translation of an ancient Greek play, a la Sophocle, Aristophanes, etc. The program notes even said it was written in iambic pentameter (though I remember grasping a line in my head and the beats didn’t quite work out). For me, I would rather the playwright not have tried to write in the style of those great playwrights.
The titular Phaeton, in this case, is a secular, social justice reformer and his father (a disembodied voice, sometimes with the rest of the cast performing interpretative dance to embody him) an imperfect and non-omnipotent God, with a capital G, because the references to the Bible are frequent in the second act, so Apollo is definitely symbolic, representative, or whatever of a theistic, more or less Christian god.
Lines like (remembering as best I can), ‘You are my only son, with whom I well pleased,’ and phrases like ‘sacramental blood’ (after Phaeton dies) and ‘plagues of locusts’ drive the point him even further. Apollo is a flawed Christian God and Phaeton is his son, the Christ, but a less spiritual and more political messiah (not that Christ wasn’t highly political, because he was, but you get my point, I hope). There’s even a sort of ‘new,’ sacramental act at the end, which, while not physically resembling the Mass, is also referencing the Mass, in that it is reinforcing Phaeton’s Christ-like role.
A few laugh out loud lines in the first act, but I felt that the Greek model straitjacketed the first act and the Christological revisionism made the second act feel too detached from the first.