Music and song selections from the album appear at the end of each scene description below.
- To listen, click the song title
running time: 60 min
|Opening -- Overture||
3 1/2 min
The lights go down in the theater as the night sky appears on the full-color screen in front of the curtain as the narrator reads the creationist myth of "the Lost Days". Overture begins with the large title screen (THESEUS) -- dissolving to the prologue and full-screen color map of the Mediterranean to set up the historical scenario of Greece in the overlord/peasant system and the sea-going empire of Crete on the verge of two possible futures: trade or conquest in the Mediterranean. Concludes with the Cretan tax demand: athletes for "the Bulldance." Shimmering Gong sounds as lights open on Scene 1.
|Scene 1 -- Athens||
In the throne room at Athens, Theseus and his father, King Aegius, argue over the Cretan tax, leading to deeper issues of Theseus' painful childhood, the theory of the Lost Days, and the future of Athens. Father and son 'split' is evident. Lights go down. Theseus sings Memory -- recalling a time when the social vision of the Lost Days seemed like a real possibility at Athens.
|SONG: MEMORY -- Lead Sheet|
|Scene 2 -- The Bullcourt||
The large Olympic-like training facility in the city of Knossos, on Crete itself.
Introduction to the world of the "The Bulldancers," or "Vadedor'es" -- most of them peasants -- "tax payments" from mainland Greece, with their leader, Maicedonia. Conflict, beginning romance between "Maice" and an outcast Omazon girl, Sinjah. Announcement that the Athenians and the King's son, Theseus are coming -- and reaction by peasant-athletes in Maice's anti-nobility speech. Arrival of 'the Courtmaster,' representing the Expansionist Party of Crete-- and the news that Sinjah will join the Athenians as a team in the Bulldance.
|MUSIC: IN THE BULLCOURT|
|Scene 3 -- Misty Dreams||
Alone in the candlelit library of the Temple-- as the statue of the Goddess looks on -- Ariadne puzzles over an isolated scroll concerning the "latter days" of the Empire -- and a recurring dream concerning a "stranger from the North" -- leading to the ballet song-dance: A Long Way to Athens
|SONG: A LONG WAY TO ATHENS -- lead sheet|
In his nomination speech to the Expansionist Party, Rhadamanthos outlines a convincing vision of world domination for Crete, using the Pyramid-elite structure and the all-important control of land and resources.
|Scene 5 -- The Bulldance||
Theseus and the Athenians, along with Sinjah, make the final decision to use "the Closed Circle" teamwork method in the Bulldance. Scene concludes with their final training session with Maice, who fails to dissuade them in the musical dance sequence: Symphony of Purpose -- which then transforms into the actual Bulldance -- on stage.
|MUSIC: SYMPHONY OF PURPOSE|
|Scene 6 -- Gift of the Goddess||
A huge statue of Goddess in the background, dark lighting, misty fog. In spite of Ajax's warning, Theseus responds to a message of help for his country from a disguised Princess Ariadne, but becomes suspicious when the girl offers the gift of belief in himself, obtainable by confessing all his hopes for his people to the Mother Goddess. When he realizes her sincerity too late, the girl runs off, but Theseus sings for her return.
|SONG: NOW -- lead sheet|
|Scene 7 -- The Supper Hall||
Late from practice - Athenians Ajax, Cassie, Samantha, Deirdre and Archimedes arrive to a hostile atmosphere as Maice and his friends linger in the Supper Hall.
Strained politeness turns to heated argument over the future of the risky, all-or-nothing 'closed-circle' team-method of the Bulldance -- and then shifts to the future of Athens as ruling city on the mainland - erupting into a near-brawl as each group hurls accusations about the self-serving motives of the other.
After, it seems Maicedonia still carries a torch for Sinjah -- insisting she could have been a "free-thinker" like him and his friends. But his friends disagree, pantomiming the "dark witches of the forest" -- and recreating an "Omazon Council' -- to decide the courtship of Sinjah -- as Maice sings hopefully in the full-chorus-dance song: An Omazon Girl
|SONG: AN OMAZON GIRL|
running time: 73 min
|Scene 8 -- Secret Friends||
Maice finally gets Sinjah to talk about the
haunting secrets that have robbed her of self-esteem in the past, and discovers
she is an outcast from her own people, much like he himself was, in Sparta.
The girl seems helped by Maice's philosophy of personal freedom and fairness.
And though she is hesitant -- romance blooms with the hope of a future time together, concluding with the romantic song/dance: Scared of Me
|SONG: SCARED OF ME|
|Scene 9 -- Winds of Rebellion||
3 1/2 min
Before the upcoming Imperial banquet, Ariadne reveals to Theseus that Rhadmanthos is on the verge of majority power in the Council, and the Emperorship -- but Theseus believes he can contact members of an underground resistance at an upcoming banquet, especially when Ariadne describes their motivations to bring back "the days before Empire," very similar to the social vision given by the theory of the Lost Days.
|Scene 10 -- The Banquet||
At the Imperial banquet for the Cretan Council -- Theseus is invited to a 'friendly debate' on 'the shape of social order.' And though he makes a worthy argument for the populist viewpoint - the senators insist that the aggressive northern peoples will always be a threat to Crete and the Southern nations. And to emphasize the point, challenge him to present a song from his homeland exemplifying "noble social purpose" (the troubadour's riddle)-- to support his arguments.
Though stumped at first, Theseus performs the song Memory-the riddle -- "assisted" by the 'banquet dancers' --- probably hoping that the spirit of the song, and his arguments, will catch the attention of rebel sympathizers somewhere in the crowd. Afterwards, the senators dismiss the song as meaningless, except as relating to a bulldancer, who has "seen better days."
But as the Banquet resumes the lights focus on two discreet figures joining Theseus who say the song could represent "an empire gone wrong" -- and that there are "people who would agree." As the three exit, the lighting shifts again to conversation at Rhadmanthos's table -- and the plan to bankrupt the remaining opposing senators on the Council. Scene closes with a toast to "the future of the Cretan Empire."
|SONG: MEMORY - THE RIDDLE|
|Scene 11 -- Village Children||
The three close friends -- Reeba, Boca, and Slade -- now realize that even if they are given their freedom after a period of service in the Cretan Bull-dance -- there will be no life for them in the villages of their homeland -- and that their friend and mentor, Maicedonia -- will probably choose to stay with the Omazon girl, Sinjah -- and not with them. Within the song, the three girls will recreate the harvest-betrothal dance from their homeland. [Reeba/Lead Singer]
|SONG: IF YOU WERE MINE -- lead sheet|
|Scene 12 -- Dark Meetings||
In a dark hallway of the catacombs, Theseus and the Athenians quickly plan a secret meeting of the "team dancers" to support the Rebel attack on the city of Knossos -- by opening the city gates from the inside.
|Scene 13 -- Slowdown||
6 1/2 min
Maice and his friends believe Theseus and the Athenians are planning a large-scale escape attempt. Whereby Maice leads the group in the dance-chorus number "Slowdown," -- which is meant as a warning to all the other athletes not to follow Theseus -- or self-appointed leaders in general. But they are unaware that the rumored "escape plan" is really an alliance between the Bulldancers and the rebel forces against Rhadamanthos.
|Scene 14 -- The Ancient Door||
Ailing and weary, Emperor Minos warns Theseus that even if the Rebels win -- the pendulum will always swing back between the two great forces of the world -- and also reveals a "final plan," a final gesture--(his own funeral)--to help the revolution in his personal exit song at the end of the scene.
|SONG: THE KING WITH NO KINGDOM|
|Scene 15 -- The Night of Wishes||
Sinjah reveals to Maice the upcoming revolution, led by the Athenians, and the need to help, then reinjures her wounded leg -- trying to keep Maice from leaving. Sinjah returns to the "House of Healing" as Theseus arrives to ask for Maice's support. But Maice appears to reject him and all other nobles, finishing with the solo destiny song: In Sparta
|SONG: IN SPARTA -- lead sheet|
|Scene 16 -- The Last Promise||
The bulldancing event in which Maice replaces the injured Sinjah unfolds like an ancient radio broadcast over "The Talking Pipes" -- with Perius translating the tapping message coming from the stadium for all the others. Final outcome: Maice dies while ironically saving Theseus' life. Sinjah arrives, unable to accept Maice's death in her final tragic song Maice which appears to bring together the formerly hostile factions representing Theseus and Maice.
|SONG: MAICE -- lead sheet|
|Scene 17 -- The Battle||
An injured Theseus awakens to find his comrades locked in the Bullcourt by Rhadamanthos on the eve of his coronation -- fully aware of their plans as the rebels launch a hopeless attack on the city. The Athenians and the Free Thinkers lead all of the Bulldancers in a final chorus before the palace army inevitably arrives at the Bullcourt, in what will be a hopeless, last stand.
Theseus's final, desperate prayer is interrupted by a massive earthquake -- opening the huge, stone 'curfew' doors -- as the Bulldancers escape. The curtain closes, then reopens on the coronation chamber and a final sword confrontation between Theseus and Rhadamanthos.
|SONG: ONE WAY HOME *|
||'Adame' - together||'Semitu' - one path||'Domeici' - home||'nte Orbo' - in this world|
|Scene 18 -- The White Horse||
3 1/2 min
On the docks of the port outside of Knossos -- as the tremors subside after the battle -- Theseus and Ariadne receive the "new alliance" from rebel leaders now in control of the city -- as the whole company boards the Cretan ship with the White Horse sail bound for Athens and.....the Future.....
|MUSIC: OVERTURE REPRISE|
|Curtain Calls -- Overture/Medley Segments|