By Madison Smith Managing Editor of Content 

The University of Montevallo theater department announced its 2025-26 season at the end of last semester, featuring well-known titles such as “Alice by Heart” and “Romeo and Juliet.” But one production stood out: “Bound and Burned,” an original work by Marcus Lane, a theater professor at UM. 

The play reimagines the story of Prometheus, beginning in medias res, after the fire has already been stolen from Olympus, and focusing on his punishment for defying the gods. This framing gives the production a darker, more urgent tone, pulling the audience directly into the conflict.  

Beyond its mythological roots, the narrative serves as a pointed commentary on power and resistance. By drawing a clear parallel between the gods and ruling elites, the story showcases how the common people—mortals—hold the true strength in numbers. The metaphor of fire, used both literally and figuratively, becomes a powerful symbol for revolution and the potential to reshape the world. 

Set Design and Layout 

One of the weaker aspects of the production was the audience layout. The show aimed for a “black box” style setup while using the Discover Shelby Theater and the Rebecca Luker Stage, a venue typically reserved for more traditional performances.  

The seating had little to no raking, which left views obstructed unless you were in the front row. This also limited sightlines to the towering two-story set, with some seats unable to see the action on the upper level. 

While the seating flaw was frustrating, it should not overshadow the effectiveness of the set design and the creative use of the audience layout. The production featured character interaction with the crowd, and the simple set design effectively highlighted a sense of detachment from reality beyond the performance. 

Costumes 

The production’s originality was matched by bold costuming, particularly for the Fates, Zeus, and Hermes, whose looks offered a stylish modern reinterpretation of divine power. Still, that creativity waned in the designs of supporting characters. 

Dionysus appeared to have been styled with remarkable disregard for consistency. The character’s ill-fitting wig and chaotic mix of fabrics clashed with the show’s otherwise spectacularly unified aesthetic.  

While Dionysus is indeed the god of pleasure and excess, the costume suggested less divine indulgence and more disorder. The character offered many creative possibilities, but unfortunately, none were realized. 

Another misstep came in the design of the character Bia, who entered wearing a hot pink fur coat and Cookie Monster pajama pants. It was a look that could only be described as “lost and found bin chic.”  

While the styling wasn’t particularly striking, actress Izzy Cox, who portrayed Bia, carried her ensemble with confidence and elevated it through her natural comedic charm. 

Though not every costume hit the mark, the overall design was both inventive and stylish. The creative blend of contemporary and mythological aesthetics gave the world of the show a distinct visual identity that elevated the storytelling. 

Script 

Typically, a review should not dwell on the script unless the performers have misinterpreted it. However, this case warrants an exception: the script was penned by the director, Marcus Lane. 

To his credit, Lane’s interpretation of the Prometheus myth was both inventive and relevant. His text skillfully wove the ancient story into the modern political climate, offering pointed commentary. It’s a rare feat when myth feels newly urgent, and Lane more than succeeds in that pursuit. 

While the script was enjoyable and offered a wonderfully reinterpreted take on the story of Prometheus, some edits are still necessary. 

Too many scenes were near duplicates of earlier ones, particularly those featuring Prometheus himself. His repeated monologues recycled the same ideas, often leaving me restless. 

There were long stretches of dialogue with little action, particularly in scenes involving the mortal characters. After Prometheus stole fire from the gods, he sparked a revolution among humankind to think freely and defy divine authority, yet that uprising was largely told rather than shown.  

The production offered only one brief depiction of the mortals confronting oppression, and it arrived well before the climax. In theater, the mantra “show, don’t tell” should always apply; here, the message would have resonated far more powerfully if the audience had witnessed the struggle rather than merely heard about it. 

Overall, the script was exceptionally well done. Considering the department’s budget and time constraints, it’s understandable that this production felt like a rough cut.  

Even so, the few flaws are easy to overlook considering its powerful social commentary and the lasting impact of its message on the audience. 

Actors 

The true gems of this production lie in its magnificent cast. Each actor brought nuance and edge to their role, elevating the story with every line delivery.  

While the ensemble was strong across the board, a few performances stood out above the rest. 

Starting strong, Prometheus, played by Xander Van Den Nieuwenhof, was a commanding presence. Nieuwenhof brought a tortured depth to the character, capturing both his defiance and despair. His diction and vocal inflection were particularly striking. Nieuwenhof’s voice carried with such clarity and conviction that I couldn’t help but hang onto every word. 

The next standout performer was Taylor McLendon, shining as Zeus, king of the gods. McLendon brought a regal flair to the role and a “girlboss” energy that gave the thunder-wielding deity a refreshingly modern edge. Her commanding posture and deliberate carriage only amplified her dominance of the stage. She demanded attention every time she spoke, and I was more than happy to give her mine. 

While all these stars truly sparkled, there was no brighter star on the stage than EJ Bostick as the god Dionysus. Bostick stole the show every single moment she was on stage. Her comedic timing and effortless wit were magnetic, offering a welcome reprieve from the show’s heavier themes.  

She invited the audience to exhale, laugh, and revel in the absurdity that is Dionysus. Bostick is a star in every sense of the word, and I look forward to seeing future performances featuring this queen of comedy. 

Closing Thoughts 

“Bound and Burned” stands as a testament to what can happen when creative ambition meets genuine artistry. From its daring performances to its clever design choices, the production refuses to play it safe, and is all the best for it. 

 The show truly leaned into chaos and embraced it. The production never lost its -spark- or sincerity. “Bound and Burned” burns brighter, reminding its audience that theater is at its best when it dares to t