“ANON(YMOUS)”: Performances are underway for “Anon(ymous).” Presented by the Lewis Center for the Arts at Princeton University; and directed by Bi Jean Ngo (assisted by Matthew Cooperberg), the play runs through November 9 at McCarter’s Berlind Theatre. Above: Anon (Aabid Ismail, left) journeys in search of his family, accompanied by a variety of characters, including the streetwise Pascal (Oriana Nelson, right), a West African refugee. (Photo by Larry Levanti / Lewis Center for the Arts)

By Donald H. Sanborn III

The Lewis Center for the Arts at Princeton University is presenting Anon(ymous) at McCarter. Playwright Naomi Iizuka’s contemporary, stylized retelling of The Odyssey centers on two refugees in the U.S. — Anon and Nemasani — each of whom has been separated from a family member.

Iizuka’s script embraces and offers ample scope for multiple forms: drama, modern dance, and performance art — in short, much of what live theater offers. Bi Jean Ngo, director of the Lewis Center production (assisted by Matthew Cooperberg), takes full advantage of this; the polished staging makes use of often dazzling production values while ensuring that the performances are the primary focus.

Set Designer Yoshi Tanokura (along with Set Design Fellow Matthew Ciccone) generally is economical in furnishing the stage with scenery. Curtains hang at the back and sides of the stage, emphasizing that this is a piece of theater (and perhaps suggesting a possible interpretation that the characters know they are telling a story). The most detailed set is for a scene that takes place in a restaurant.

Anon(ymous) opens with the entire ensemble, which — except for Anon, who is already onstage — approaches us from behind, processing from the aisles to the stage as they speak.

The dialogue for this segment is poetic, with each line beginning with the same phrase. Anon tells the audience, “Where I come from is far away from here.” A Chorus of Refugees joins him, describing their homelands. One refugee establishes a key theme by describing “waterfalls taller than the tallest skyscraper.”

Aabid Ismail delivers a compelling performance as Anon, whom he infuses with palpable PTSD (born of the character’s experiences). He captures Anon’s restless, at times defiant determination to find his family (against unlikely odds).

Ngo introduces choreography into this opening segment, letting it recur throughout the show. The actors are given movement that is flowing and expressive.

As the backstory is established, the production elements shine. The sound design by Nathan Leigh (which includes eerie, atmospheric music) and Elena Milliken’s  lighting (which uses projections effectively) establish the war that causes the refugees to flee to this country, and the storm that bedevils their journey and causes the families to be separated.

In the course of searching for his family, Anon meets a variety of characters — some helpful, some wicked. Just as Athena helps Odysseus in Homer’s original poem, Anon periodically receives help and guidance from a goddess, the feisty and matter-of-fact Naja (Oriana Nelson).

Nemasani (played by Ash Jackson, who infuses the character with the dignity to rise above her circumstances) assumes that her lost family member is dead. She toils in a sweatshop; whenever she is able, she sews a shroud that she firmly says is “not for sale.”

Anon(ymous) received its 2006 world premiere at the Children’s Theatre Company (in Minneapolis). Despite the name of the venue, the play does not deal with juvenile themes.

Indeed, both Anon and Nemasani are targets of sexual harassment. Anon is treated as little more than property by Calista (Kate Stewart, who succeeds in making the character both stereotypically bratty and dangerous). Calista is named for the nymph Calypso in Homer’s original. Nemasani is the target of unwanted advances from Mr. Yuri Mackus (made suitably domineering and lascivious by Avi Chesler), the manager of a sweatshop.

The play is an entertaining but sobering fable that considers how immigrants are treated, particularly ways in which the rich and powerful take advantage of their vulnerability. The piece also probes themes of disrespect for other cultures, as well as humanity versus nature.

Where Anon(ymous) makes itself available to younger audiences is not so much in its subject matter or themes, but rather in its manner of storytelling. The play is inhabited less by three-dimensional characters (other than Anon and Nemasani), and more by archetypes. This is particularly true of the antagonists, and Costume Designer Ariel Wang reinforces it in many of their outfits.

For example, the greedy Mr. Yuri Mackus wears a green shirt that immediately suggests dollar bills (unsubtly, he gives Nemasani the nickname of “Penny”). Spoiled rich girl Calista, a character meant to represent the worst of American excess, is given an artfully gaudy blue and red swimsuit (along with a red bow that inescapably recalls Minnie Mouse). Helen Laius (Chloe Ng), the affable but patronizing wife of a Senator, wears purple — suggesting an effort to appeal to both sides of the American political divide, at least outwardly.

Later, Anon recalls his upbringing by a “Nice American Family” (portrayed by Ng as the mother and Stewart as the daughter). The casting, costumes, and staging all indicate that “nice” signals white, affluent, and culturally conventional.

On his journey Anon meets the sinister one-eyed butcher Mr. Zyclo (Destine Harrison-Williams), a character named for the poem’s Cyclops, along with his pet bird. Stewart plays the bird, for which Wang delivers a memorable design. Harrison-Williams also plays Ali, the gregarious proprietor of a restaurant staffed by Ritu, the chef (Tima Alshuaibi) and Nasreen, their daughter (Kristen Tan).

Anon also encounters Serza (Chris Twiname), a bartender whose use of a specific figure of speech reveals that she is the daughter of another character; and a Barfly (James Han). Besides Naja, his primary helper is Pascal (also played by Nelson), a streetwise refugee from West Africa.

A climactic duel between Anon and one of the antagonists is smoothly staged by Fight (and Intimacy) Director Jacqueline Holloway. Pieces of ridiculously outsize sewing equipment become weapons, giving the scene a distorted look that somewhat recalls filmmaker Tim Burton.

Connections between certain characters, and the play’s resolution, become obvious fairly early. It is tempting to wonder whether Iizuka wants us to be a few steps ahead of the characters here — perhaps for this piece, mystery is less important than our empathizing with the characters, and sharing their journeys.

Although there is less suspense in the ultimate resolution, there is plenty in terms of how we get there. Iizuka is skilled at placing characters in situations that feel both inescapable and unpredictable.

As observed above, Iizuka’s strongest and most important gift is in writing poetically. This does not just refer to dialogue; it means creating characters and situations that lend themselves to dazzling, smooth staging.

Anon(ymous) has a plot that is just thick enough to be engaging as drama, but open enough to allow the talented cast — which has the versatility to deliver the multiple roles required of most of the actors — and creative team to contribute their part. There is rich poetry in the blending of dialogue, lighting, and sound design that rewards us for undertaking this odyssey.

On November 7 the Lewis Center will host a conversation between Iizuka and Barbara Graziosi, Princeton’s Ewing Professor of Greek Language and Literature and Chair of the Classics Department. The talk, which is free and open to the public, will be held at 5:30 p.m. in McCarter’s Berlind Rehearsal Room.

Presented by the Lewis Center for the Arts’ Program in Theater and Music Theater at Princeton University, “Anon(ymous)” will play in the Berlind Theatre at McCarter Theatre Center, 91 University Place in Princeton, through November 9. Content Advisory: The Lewis Center cautions that the production includes “depictions of violence, war and related topics, trauma, gore (blood), loud noises, bright and flashing lights, use of haze, and sexual harassment.” For tickets or additional information, visit arts.princeton.edu/events/anonymous-by-naomi-iizuka/2024-11-01.