Two Cent Lion’s bold retelling at the People’s Building reclaims Medusa’s story with mixed results
The myth of Medusa has long been a story about fear — fear of female power, fear of the unknown, fear of the consequences of unchecked authority. But what happens when we look beyond the monster and into the eyes of the woman behind the myth?
The Tragedy of Medusa, written and directed by Olivia Buntaine, dares to do just that. This reimagining, presented by Two Cent Lion at Aurora’s People’s Building, reclaims Medusa’s narrative, challenging the conventional hero-villain dichotomy and exploring themes of queerness, consent and power through a contemporary lens.
While ambitious in its storytelling and thematically rich, the production struggles at times to balance its weighty subject matter with a consistent tone. Alex Miller and Toni Tresca discuss their experience at the world premiere play’s opening night on February 8, how this adaptation reinvents Medusa’s journey and where it falls short in execution.
Alex Miller: This Two-Cent Lion production adapts the Greek myth where Medusa was a priestess of Athena who gets raped by Poseidon. Rather than condemn Poseidon, Athena banishes Medusa to an island and transforms her into the famous Gorgon, who turns men to stone. In this version, all these would-be heroes show up trying to kill her to prove their manhood.
Toni Tresca: The play begins with Medusa, played by Tamarra Nelson, explaining her complex story to Perseus, played by Archer Rosencrantz. From there, we witness scenes between Medusa and Athena, played by Annalesia Veasey, which are quite strong. Their relationship is compelling as they explore family dynamics and Medusa’s evolution from a simple girl who feels pressured to marry into a priestess and discovers her sexuality through a relationship with Athena. It’s honestly quite touching.
Alex: That’s one of the most refreshing aspects of this retelling — framing Medusa’s story around her queerness rather than just her victimhood. But at the same time, I think the show muddies its own messaging.
Toni: For a play that wants to highlight queer oppression, the conflict feels strangely unfocused. The gods don’t actually seem to care that Medusa and Athena are in love — if anything, they’re indifferent to mortal relationships altogether.
Alex: Right! There’s even a joke about Zeus sleeping with a eunuch, which suggests the gods are totally fine with sexual and gender fluidity. That’s where the script undercuts itself. If the gods aren’t enforcing heteronormativity, then Medusa’s struggle isn’t really about fighting against homophobia — it’s just about them being jerks to mortals in general.
Archer Rosenkrantz as Perseus and Tamarra Nelson as Medusa. | Photo: Kalen Jesse Photography
Toni: Exactly. That shift makes the story feel less like a commentary on present-day queer oppression and more like a general “mortals vs. gods” conflict. It weakens the stakes because it takes away the personal and political urgency the story could have had.
Alex: So, while the show has a somewhat interesting queer story romance between Medusa and Athena, particularly in the first half, it loses focus throughout its 75-minute, no intermission runtime.
Toni: I agree. The early scenes work beautifully, but things derail when the gods on Mount Olympus are introduced. There’s this weird integration where sometimes the gods are portrayed anachronistically in modern times, which clashes with the play’s themes about power dynamics and free will. They’re meant to represent old-fashioned power structures, but their comic elements sit uncomfortably alongside the violence they enact.
Alex: Let’s discuss the cast. Veasey’s Athena was dressed as a sporty character with cool armor and bare arms, whereas Rosencrantz’s Perseus resembled a wimpy little boy in terms of costume and physical presence — not your typical Greek hero. Meanwhile, Izzy Chern delivered an alluring performance as the love goddess Aphrodite, and Maria Cina effectively portrayed Hera as a tempered leader who seems to controls her relationship with her husband, Zeus.
The Mount Olympus crew, L-R: Neil Soriano Isales, Jr., Fabian Vazquez, Izzy Chern, Maria Cina, Annaleisa Veasey. | Photo: Kalen Jesse Photography
Toni: Perseus actually became more of a sympathetic character after learning Medusa’s story, becoming almost like her counsel or advocate. It’s an interesting idea, but it didn’t quite work with how the script was structured. The constant cutbacks to these scenes felt very film-like, which doesn’t translate well to the stage. You can’t just fade between scenes; instead, they had to bring lights down, play music, make long transitions, and bring out statues. It became really clunky.
Alex: Yes, and while Fabian Vasquez’s Zeus and Neil Soriano Isales, Jr.’s Poseidon were portrayed as fraternity brothers, drinking beer and vaping — which seems to be theatrical shorthand for evil characters now — this comic interpretation created serious tonal issues, especially given Poseidon’s later violent actions.
Toni: Speaking of which, after Poseidon’s assault on Medusa, the characters don’t treat it with the emotional gravity it deserves. Following the rape, the Gods continue to joke about things like having sex with a Minotaur on Olympus. This is just one example of how the script never quite decides if it’s a comedy or drama.
Alex: The technical elements were mixed. The scenic design by Naila Martinez, which they built at DU, had some strong points. Though a small production with volunteers, the scene changes might improve as they get more performances under their belt.
Toni: The projection design by Anna Slote was quite effective, especially in the cave scenes with Medusa, where strike marks on the wall represent her time there, and later with the night sky imagery. However, some set pieces blocked the projections, and Maxwell O’Neill’s lighting, while making interesting color choices, often left actors in darkness.
Alex: Without spoiling the ending completely, while it’s no secret that Perseus beheads Medusa, the way it’s framed is problematic. The show explores how Athena must pretend to support punishing Medusa despite still loving her, which is actually more compelling than the Perseus storyline.
Toni: Exactly! Athena’s conflict — between her duty to Olympus and her love for Medusa — should have been the heart of the final act. Instead, the show rushes through these moments, compressing them into the last 15 minutes while spending far too much time on comedic asides on Olympus. If the play had focused more on Athena’s impossible decision rather than long, dry exchanges between Perseus and Medusa, the ending could have been devastatingly powerful. Instead, the emotional weight of Medusa’s fate feels diluted.
Alex: The Tragedy of Medusa has a fascinating premise and strong performances, but the uneven direction, jarring tonal shifts and mishandled themes keep it from reaching its full potential.
Toni: With a more focused third act and stronger theatrical staging, it could have been a truly powerful reimagining. As it stands, it’s an intriguing but flawed production that doesn’t quite live up to its ambition.
Theater is successful if it makes you think about what you saw, if you felt something by the storytelling, if you continue to talk about it.
I want to thank Olivia for telling Medusa’s story in a brave and vulnerable way. I want to thank the actors for committing to the characters and bringing nuance, heart and pain.
I was touched by the relationship between Medusa and Athena – it was a believable and heartfelt journey from flirting to passion to pain. I enjoyed the connection that grew between Perseus and Medusa – comic and heartfelt moments challenging the common images of these two mythological characters.
Hera and Aphrodite were powerful depictions of strong women in difficult situations.
A great theatrical experience for me – beautiful set, wonderful acting, and powerful writing. It was clear the director created a safe environment among the cast and crew to tell this story.
Go see this show!
Plays like this become even more essential after reviews of said play miss the mark on understanding complex trauma, misogyny, and the very real challenges faced by women and femme presenting people to be believed in our culture. This play does an exquisite job of displaying just how sinister misogynistic tendencies are, no matter who you are or how much authority you may have. I am sad that this review doesn’t seem to understand the social commentary being made here, and I hope the reviewer can take time to reflect on why this article may have missed the mark on what this play actually was is and stands for.
I found that the performance acted as a mirror to our collective consciousness, revealing how myths and stories shape our deepest biases. By making subtle shifts in familiar narratives, the play exposed underlying assumptions, prompting the audience to question long-held beliefs. Passed down through generations, these stories embed biases into our thinking, reinforcing ideas about power, identity, and belonging. As I left, I reflected on how the writer, director, and cast used their talents to challenge us to consider: What if the storytellers had come from outside of the power structures ?
What’s “old fashion” about sexual assault? Particularly by a man who feels undermined / rejected within his perceived position of authority? I think your review of the gods is half baked at best & displays a bit of the ignorance the play is trying to confront in the first place.
Sure did take these reviewers a lot of words just to say “We don’t understand the impact of r*pe culture on women and queer people, and also we don’t care.”
I believe where the mark was missed is in your interpretation of the carelessness of the gods. When was the last time you hung around young men? The way Zeus and Poseidon were portrayed was extremely reminiscent of men who think they’re funny, think they’re the salt of the earth, and think they can do no wrong. That was true when these myths were written, and it’s true now. I think the show did a great job at bridging that gap and made this ancient tale a sadly relatable modern story.
I think you also misinterpreted the dynamic of the women gods and their roles in Olympus. They truthfully did not have any control. The amount of times Zeus subtly demands his presence over Hera, the amount of times Athena was dismissed and pressured to marry a man, the amount of times Aphrodite was made a joke of and put in a stereotypical box.. and Hera had no control in Olympus; she inhibited a common survival instinct of oppressed women by carrying out an agenda.. it was skilled writing from Olivia and superb acting from the entire cast.
I’m sorry, but you really missed the point of the show. True queer stories don’t dramatize queerness and only have characters that express black and white thinking, they expose the complex flaws in a nuanced society. Olympus and the gods were a reflection of the world and the contradiction between society and people. Exactly what the Greek myths were always meant to be.
I thoroughly enjoyed this show —yet this review made me question if we saw the same production or if we live in the same reality? It seems like the “muddying” of messaging is based on the reviewers’ own misunderstandings.
You find it “unfocused” that the gods could both not care about Zeus’s sexual freedom but care that Athena loves Medusa. You miss the point here that it is men who get to make unchallenged choices but even a god who is a woman does not and must be punished.
I was honestly surprised to see the reviewers note “serious tonal issues” caused by the portrayal of Zeus and Poseidon as fraternity brothers not aligning with their later violent acts against women. The depiction immediately rang true to me as a reflection/depiction of current rape culture. How many times have we seen empathy entended to a frat bro or young college-aged guy about what rape allegations could due to his future. He was just having fun! He didn’t mean it! Allegations don’t even get taken seriously when we’re appointing justices to the Supreme Court. Brett Kavanaugh just “likes beer!” Credible accusations by women are just here to ruin men’s fun and careers.
The fact that you note Perseus’s casting as “almost like a wimpy little boy” makes it clear you are unserious. The most obvious, on-it’s-face reimagining of what it means to be a man or a hero went completely over your head.
Perhaps including a queer person’s thoughts in a review of this production would have elicited a more interesting discussion….instead we got two dudes confidently advertising they missed the point. Maybe you guys should go watch it a second time to see if you’ll have more luck.
Sad to see that people can’t critique a critique (which we love) without making assumptions about our gender identity or understanding of such. Imagine if someone said “You’re a woman so you couldn’t possible understand this.”
Do you have a different reason to offer for why your review missed the mark in so many ways?
I didn’t say that you couldn’t possibly understand because you’re man, your own words revealed enough about your understanding of this play. In a time of heightened oppression of queer people, it would have been nice to have a meaningful and thoughtful review of this production but here we are.
The show has a ton to do with identity, sapphic love, trauma, and gender roles. The amount that this review comments on gender and it’s influence on the play, and how it completely missed the mark on why those choices were made, makes it clear that the identities of the critics actually do play a big role in the understanding of theatre (and every other aspect of societal and artistic existence). Hope this helps!
Alex, women are told this literally every single day. Weird… almost like that is… a theme.
I think the gods discussion of queerness did not turn the conversation into morals vs gods, but rather created a more nuanced discussion. The gods indicate that being queer is okay if it’s just sex, but not if it’s love. To me, this created a more “modern” discussion of heteronormativity, where queerness is allowed in some situations, but ultimately heteronormativity is seen as the “right” thing. At the same time, the comedic comments from Poseidon highlighted how bad people do not act poorly to everyone in their lives. Not everyone sees or acknowledges bad behavior, especially when we talk about rape and rape culture.
Another review by men. And of course it’s over their heads. I saw this play on Sunday and was beyond impressed. The modern storyline is really compelling, and as a survivor of sexual assault, it felt very in tune with the human experience. Of course no one cared about her rape… no one takes survivors seriously. It’s all about the patriarchy. In terms of the flashback style of the story – I genuinely loved that.
The crowd was moved to tears by the end of the performance. I’ve never felt so safe and cared for as I did at this production.
Don’t take these fools seriously. I genuinely hope these reviewers can open up their privileged eyes and ears and go take another look. They’ve clearly missed the point here.
Back again because gosh there is so much in this review that is so short sighted.
“Maria Cina effectively portrayed Hera as a tempered leader who clearly controls her relationship with her husband, Zeus.”
Alex, Toni, did the depth of this play absolutely pass you by completely? Wondering which parts of the relationship you think she controlled? Her bodily autonomy when she didn’t want to sleep with Zeus? Such a fascinating take. Zeus was sleeping with everyone and anyone and had so much power. Interesting that when a woman takes what power she can y’all believe her to be controlling. She was controlling, but not of Zeus. Of herself, of women. Because she felt that women had to work within specific parameters in order to keep men satisfied enough that they would leave women alone. This is a product of the patriarchy, which by the way is a running theme throughout the play.
“If the play had focused more on Athena’s impossible decision rather than long, dry exchanges between Perseus and Medusa, the ending could have been devastatingly powerful. Instead, the emotional weight of Medusa’s fate feels diluted.” The play was about Medusa, y’all. And the “long dry exchanges” were incredibly important, especially to anyone that has survived assault. The show I saw didn’t have a dry eye in the house. Perseus holding Medusa’s hand, their long and beautiful hug… IT WAS HEALING. These things are important. Athena, while wanting to “protect” Medusa did not give her a choice in the form which in turn ensured that Medusa was indeed punished, left alone, and knowing that nothing would ever get better. And yet she was still willing to accept kindness from a stranger who had come to kill her, she was still full of love for Athena, who was not courageous enough in her love to be by her side as her protector. Who eventually did indeed punish Medusa though it was meant to be protection. You say Athena’s decision was impossible. It wasn’t impossible. She just wasn’t willing to make the decision she wanted to make. The story IS Medusa. The story is about how deeply Medusa loved, how devoted she was, how much she desired to love out loud and how she gave that love freely. And how painful it is to love someone who will not do the same for you. Medusa’s death was Athena’s punishment and her final scene show cased that. “Did I do enough?” “No.”
Gosh. I cannot get over how much y’all missed in this production..
Clearly much was missed in your understanding of this play which is so deeply unfortunate. The portrayal of the gods joking after Medusa’s rape was reflective of how they didn’t deem it to be rape because they believed a human’s lack of free will meant nothing the gods did was against their will. Meanwhile the scene between Medusa and Perseus after Medusa shared with him what happened was a true show of healing masculinity, a show of how to show up, listen, hold space and also give comfort, support and help heal. Your ideas of Perseus needing to be a giant “masculine man” showcase your lack of understanding of the entire production.
The gods were presented as they were to tie in how patriarchal values still rule our world, and how many with power perceive the wrongs they do to those without power as being justified to keep the power structures in play.
I truly hope you revisit your ideas around masculinity, assault, power & how it all ties in.
This was a bad take on a thoughtful vision of Medusa’s story.
It seems like you had a tough time with how the men in this show are portrayed. Hear me out, but what if this show isn’t about the men at all? I think this show does a wonderful job of both accurately nodding at mythology while reimagining the story to make a very relevant and nuanced point. I would ask you to sit with your uncomfortable feelings and consider them as indicators of your growth as opposed to representation of the quality of the work. Good art is meant to make us consider ourselves and our place in this world and I would challenge you to reevaluate