Lesbian athlete attempting to swim from Havana to the Florida Keys — again

At 61, former NPR reporter Diana Nyad is swimming for the record books.

In Greek mythology, the naiads were, basically, water nymphs, presiding over fountains, wells, springs, streams and brooks.

Lesbian athlete and former NPR reporter Diana Nyad, 61, hopes to conquer a somewhat bigger body of water as she attempts to swim from Havana, Cuba, to the Florida Keys in 60 hours, without a wetsuit or a shark cage. She left Havana Sunday and intends to complete the 103-mile distance sometime Wednesday, according to this report by ChicagoPride.com.

CNN, the only news media outlet that will have reporters in the boats accompanying Nyad, talked with the swimmer before she left Sunday. She told CNN she believes she is in the prime of her life. She said: “When I walk up on those shores of Florida, I want to prove to the AARP crowd that it’s not too late to go back and write that book or adopt that child. … The joke is the 60s are the new 40s, and it’s true. … I want to be there to say we have many, many years of vitality and strength and service left in us.”

Like anybody who has listened regularly to NPR, I had heard of Diana Nyad. But I never knew that she was a world-record-holding swimmer. In 1970 at age 20, in her first distance swim, she set a women’s world record by swimming 10 miles across Lake Ontario in four hours, 22 minutes. In 1974, she set another world record by finishing the 22-mile Bay of Naples race in Italy in eight hours, 11 minutes. The next year, at age 26, Nyard swam around the island of Manhattan — 28 miles total — in seven hours, 57 minutes.

—  admin

Mything the mark

Puppets rule in ‘Mount Olympus,’ but the effect ends up wooden

Theatre TooJeffrey Schmidt | Theatre3Dallas.com

Puppets and theater don’t come to mind often, save for Avenue Q. That Broadway hit knew how to mix its Sesame Street-like puppets with a contemporary storyline.

Theatre Three’s world premiere of Bruce Coleman’s Tales of Mount Olympus tweaks the idea using puppetry to tell the classic stories of gods and monsters from Greek mythology. Coleman, who wrote, directed and designed Mount Olympus, exudes innovation. He mentioned that this show is a built of worldly components of theater. The Greek myths are narrated in American storytelling fashion with Hungarian black lights and Japanese Bunraku puppetry. If only as a whole, they all worked.

The show begins with more primitive puppets. Gaia, or Earth, was a large globe with her face painted on and rotated thanks to the actor in black. Her husband, Uranus, was an interestingly constructed creature made up of Christmas lights. Ultimately though, they came off as school craft projects. This remained the same for the following set of gods, Cronus and Rhea.

Two-dimensional pedestals with large heads depicted the married couple while actors from behind emoted with their hands. When Rhea gives birth, her babies are delivered by a magnificent puppet of of a bird in beautifully done Day-Glo feathers to Cronus who ate them for fear they would revolt and overthrow his power. There is some injected humor here as he burps after each devouring and the bird acts as a busybody telling everyone’s business, but there is nothing compelling here. Actors don’t voice the characters. Instead, they are pre-recorded and acted out. This is more of a disconnect than an effective too, but more on that later.

Before long, we are introduced to the glorious puppets of the gods. We see Aphrodite borne from her shell albeit not nude. Coleman initially planned for that bit of nudity, but construction became an issue. Hades, Poseidon, Hera and others are all brought out in striking puppet form. The faces are bold and can be seen clearly from each seat and two actors control most of the characters with one as the brain, and the other as the body.

Zeus however is part of the stage. His huge face is depicted on a wall with a moveable jaw like Big Tex. Understandably, it depicts his grandiose standing, but it’s also underwhelming. When he speaks, the bottom of his beard scrapes the floor and distracts from everything else.

Act 1 has been filled to the brim with more Greek stories before intermission. The tale of Aphrodite infidelity to Hephaestus by her affair with Ares and Persephone’s trip to the Underworld to become Hades’ wife all play out before the break and feel a little rushed.

The first half lacks any emotional punch and the visuals wear off quickly despite the detailed construction of the sets and puppets. Coleman did allow for humor so there are moments when a puppet is actually funny by way of a gesture or the shakes. When two gods give a high five in Act 2, it’s a priceless, hilarious moment.

Theater Three
Jeffrey Schmidt | Theatre3Dallas.com

Thankfully, this is where Olympus redeems itself somewhat. By telling the whole tale of Perseus and Andromeda (or for the cinematic-minded, Clash of the Titans), there is time to get invested into the characters as Perseus sets out to save Andromeda from the Kracken. The innovation explodes here. When Perseus meets Pegasus, the winged horse provides a gasp of wow and although Medusa isn’t as threatening as she needs to be, it is an inspired piece of work they created. I don’t want to give too much away — either in the Kracken’s appearance or Cerberus’ the three-headed dog — but there is some room for surprise in the show, even if they are small ones.

Act 2 may stick with you, but the show won’t. The play feels much more like a production intended for school-age children, which is hard to reconcile with Theatre Three’s usual professional standards. The recorded narration is also miscast, as the voices are never powerful enough. Zeus should ring through the stage, but instead sounds far from almighty-ness. Actors could have possibly voiced the characters with more depth and emotion but the choice to go with recorded narration takes away from the dramatics. I wanted so much more from this show, which I would have gotten if I was a whole lot younger.

Tales from Mount Olympus at Theatre Three (in the Theatre Too space), 2800 Routh St., Suite 168. Through Nov. 28. $20–$30.  214-871-3300. Theatre3Dallas. com.

—  Rich Lopez