His people pray to the gods for help and this comes in the form of a man named Enkidu, who lives amongst the wild animals. A clever Gilgamesh sends a priestess to seduce him. Once he discovers the pleasure of women, the animals reject him and Enkidu follows the priestess back to the city. He confronts Gilgamesh as the king prepares to rape a virgin bride. Instead of becoming enemies, they become friends.
The simple dreamscape setting, by set designer Melissa Ficociello, is lushly lit by Jeremy Pivnick. This production contains male and female nudity and tastefully suggested sexual situations, but it is not meant for young children.
According to the program notes, a real man named Gilgamesh ruled as king of Uruk, Mesopotamia in 2750 BCE. In 1700 BCE, a poet wrote an epic tale about a Gilgamesh, taking 11 stone tables for the whole story. As the hero of the play based on an epic poem, Gilgamesh (the muscular and commanding Deobia Oparei) is a demigod who knows no equal until a wild man, Enkidu (Will Watkins), confronts him. It is Gilgamesh's own folly that brings this friendship to an end.
When Gilgamesh resolves to destroy evil in a "pre-emptive strike" against a monster that exists but does not threaten his city at all, Enkidu dies because this act angers the gods. Gilgamesh begins a great journey to assuage his guilt and even, perhaps, bring his friend back from the dead. He fails, but there is something to be learned through failure.
As with all the heroes in the ancient Greek and Roman myths, in this world premiere adaptation at the Theatre@Boston Court, Gilgamesh is a flawed hero who often makes costly mistakes. When he returns to his city he is still strong, but he is wiser and more humble. In this we see what it is to be a great warrior, to be brave, to have honor, and to have compassion for weaker beings.
In Man of La Mancha our knight is not a warrior. He kills no one and he ravages no women. He is weak as Gilgamesh is strong, derided as crazy while Gilgamesh is feared and honored.
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