Executive producer Dale Morris commissioned UCSD scholar Marianne McDonald to translate Euripides’ Children of Heracles for an ambitious, six-week run at the intimate 6th@Penn Theatre in Hillcrest. It is interesting to discover the many parallels from this classic Greek story, penned in 430 B.C., that immediately connect with today’s modern headline news.

The stage is solemnly set, allowing the audience to focus their attentions upon the altar to Zeus, the scales of justice and hands raised heavenward, awaiting direction from the gods. The costumes, modest flowing gowns and robes, allude to the past but the words of the author underscore current affairs: war, displaced human beings, suffering and retribution.

The storyline is a simple, oft-repeated tale with only the names and places changed through the years. Having just killed their father, Eurystheus, Argos’ tyrannical ruler, commands that the children of Heracles leave their beloved homeland. They become fugitives, seeking asylum in any country willing to harbor them from their nemesis, but the price to be paid for any country willing to provide these innocents with asylum is immediate, outright war with Argos. Encouraged by an oracle that predicts victory for Greece in the confrontation against Argos, Athenian leader Demophon accepts the challenge, even though one royal innocent will have to sacrifice her life.

Iolaos (Jack Banning), the aged protector of Heracles’ children, tells their sad story in a compelling, forthright manner. His delivery is beautifully understated and nuanced to harmonize perfectly with the reactions from the audience, other players and the omniscient Greek chorus.

Equally rich in texture is the delivery of Alcmena (Rhona Gold), the children’s grandmother, who not only provides competent dramatic moments but also comedic moments (I think the San Diego community can expect great things from this actor in the future).

Dale Morris’ few minutes on the stage as Eurystheus demonstrate that dramatic moments are not limited to the delivery of words. He tells the audience and his captors more with his eyes than most actors do with extended pages of dialogue. His presence is commandingly sinister and underscores the power of the deposed ruler of Argos.

Although the translation works well on some levels, it fails to provide the chorus with the expected, almost mystical presence. The forced intimacy of the 6th@Penn also limits the dramatic power and theatrical ambience usually provided by the chorus’ all-seeing, all-knowing recitations. This overly naturalistic interpretation lends itself too easily to some non-intentional levity.

Delicia Turner Sonnenberg’s direction is well-balanced, allowing for expected ancient Greek pageantry, dramatic as well as light-hearted moments, and even some minimal audience participation.

The play speaks to many modern-day themes: sorrow for those who are born to sorrow, respect for the laws of a free country, heroism and honor. It reminds us that the context of every war is an unrestrained cry from its many victims, no matter how just the cause.

See Children of Heracles at 6th@Penn. It’s not full-frontal nudity, but at least it’s Greek! Children of Heracles shows at 6th@Penn through Aug. 24. For tickets or more information, call (619) 688-9210.