EPIC: The Musical Lives Up To Its Name
We Need This On Stage...PRONTO.
“But when does the comet become a meteor? When does a candle become a blaze? When does a man become a monster?”
WARNING: Spoilers for EPIC: The Musical and Homer’s The Odyssey.
EPIC: The Musical is quite the achievement. I wasn’t on the hype-train buildup that people were on for the past two years, as the story began on Christmas Day of 2022 and ended on Christmas Day of 2024. I just happened upon this adaptation of The Odyssey one day, and with so many talking about it I decided to give it a shot. I was positively blown away and haven’t stopped listening to the songs since. So I decided to break down each saga, and give out my thoughts on it. Now, full speed ahead!!
The Troy Saga
“You are a warrior of the mind. Don't disappoint me.”
We start off with “The Horse and The Infant.” It’s a good start and while it does have its hiccups (this is just an indie project that was a college student’s senior thesis), it still mostly hits. It may highlight characters who’ll have no impact in the story, and the last part with Zeus (Luke Holt) is definitely the weak point of the Trojan War-themed opener. But it does succeed as a good opening buildup, which is crucial in musicals. “Just A Man” was when I realized this musical was going to be something special. As Odysseus grapples with the weight of his actions as he’s forced to make a horrific choice (if you know the legends, you know) to save his kingdom, we get to see his turmoil in an emotionally charged number by Jorge Rivera-Herrans (whose lyrical writing is just as amazing as his portrayal as Odysseus). It’s the first stroke of the highs EPIC will soar to achieve, and it doesn’t disappoint. It also foreshadows the story to come, particularly with Odysseus saying (singing, in this case):
“I’m just a man, who’s fighting for his life…deep down I would trade the world to see my son and wife!”
We follow that up with “Full Speed Ahead.” This one is pretty good, even if a tad generic. We’re introduced to Odysseus’s second-in-command Eurylochus (Armando Julián) and Odysseus’s best friend Polites (Steven Dookie) here, where the dynamics are clearly established. The best part of the song are those introductions, which help move the story along quite nicely. Polites gets his own song following this (“Open Arms”), and it’s a nice song that shows the hopefulness some still have even after fighting for ten years. Polites’ enthusiasm and heart shows with Steven’s vocals, and gives a great contrast to Odysseus’s tense and more guarded attitude. I’d even call this the best of The Troy Saga, if it wasn’t for this saga’s finale. “Warrior of The Mind” marks the first appearance of Teagan Earley as Athena (“Badass In The Arena!” as Odysseus describes her), and she steals the show to give us the best number of The Troy Saga (and honestly one of the show’s best as a whole). It perfectly shows her dynamic with Odysseus and her drive to make him the strongest warrior he can be (“A warrior of the mind”). Rivera-Herrans manages to lyrically deliver on crafting stories with song and this where it shines strongest in The Troy Saga. And while it may not be a proper ending for this saga, it at least ends it on a high note.
The Cyclops Saga
“Since you claim you're so much wiser, why's your life spent all alone? You're ALONE!”
The name of this saga speaks for itself. The main story of this saga is Odysseus’s battle against the cyclops Polyphemus, and the insane production values definitely shine here. Unfortunately, this is probably one of the weaker sagas. Let’s start with the opener, “Polyphemus.” The backing instrumentals go a long way into adding atmosphere, and the voice work for the titular cyclops is fantastic. Unfortunately, this and the following number, “Survive” I could see as songs that could be cut in a film (or even stage play) adaptation. They may add to the story but the tradeoff is not favorable to the music itself. If you know how the story goes (Odysseus and his crew find some sheep to eat but piss off Polyphemus, and Odysseus drugs the cyclops with lotus wine but not before Polites and others wind up dead), there’s only so much Jorge could do. But a part of me wishes there was another way to make something that matches EPIC’s usual highs. “Remember Them” is a step up, combining the cinematic scope of the previous two numbers and some of the emotionally charged elements of The Troy Saga. I don’t have much to say here either though, but it’s a solid number from the reeling start to the confident end (where Ody makes the sad mistake of completely doxxing himself). But much like the previous saga, Athena swoops in to deliver another fantastic ending. “My Goodbye” is a fantastic execution of Odysseus and Athena’s partnership crumbling, with Rivera-Herrans and Earley delivering spectacular vocals. The writing complements this, along with Athena’s leitmotif that recurs throughout the show being used to its greatest potential here. It’s a bitter yet powerful finale to The Cyclops Saga that ironically sets up Odysseus and Athena’s outlooks on life changing by the end. With another Athena-featured masterpiece, what’s next for—?
“Odysseus of Ithaca!!! Do you know who I am?”
.…oh.
The Ocean Saga
“Ruthlessness is mercy upon ourselves.”
We’ll get to the finale of The Ocean Saga in a minute. But let’s talk about the saga as a whole. Unfortunately, I do want to be constructive. This and the preceding saga are a tad weaker than the rest of Act 1, but thankfully there are no songs in EPIC that I dislike. “Storm” is another great flex of this musical’s fantastic production values, if nothing more. I do find it better executed than “Polyphemus” and “Survive” but not offering much more than those two. “Luck Runs Out” is the most consistently great song of this saga (hot take, I know). Eurylochus’s fears and growing tension between him and Odysseus are executed fantasically from both a story and lyrical standpoint. The two bounce off each other in their differences, leading to a great song that’ll become even more impactful later in the story. Speaking of Ody’s next endeavor, he ventures onto the floating isle of Aeolus (the wind god in a genderbent performance by Kira Stone). The god gives Odysseus a wind bag and the next number, “Keep Your Friends Close.” This is a catchy bop that helps build tension well, and I also really like Anna Lea’s debut as Odysseus’s wife Penelope in a dream sequence later in the song. It transitions perfectly into The Ocean Saga’s finale as the wind bag is opened and hell breaks loose…and then Poseidon (Steven Rodriguez) shows up to make things worse. The finale is the song “Ruthlessness,” and it’s a little underwhelming as a finale. This is definitely having some lyrical hiccups, but it cleans up to make a mostly solid finish that sets up the relentless conflict between Ody and Poseidon. Most of these songs in this saga are solid but not great (with the exception of “Luck Runs Out”), but is overall an improvement over The Cyclops Saga. This is just a case where I prefer Athena over Poseidon.
The Circe Saga
“She had us in just two words: ‘Come inside’.”
“…Damn.”
Yeah, this is the best saga of Act 1. I don’t think it’s even close. Talya Sindel (Jorge’s IRL girlfriend) delivers a hell of a performance as the cunning witch Circe, and that charisma oozes throughout the whole saga. We first kick things off with her debut in “Puppeteer.” We get to know her character in this song, preceded by a great back-and-forth with Odysseus and Eurylochus. I have nothing else here, “Puppeteer” slaps. We follow that up with the boppy (if a little cliché though) “Wouldn’t You Like.” This debuts Hermes (Troy Doherty), as he gives Ody a “HOLY MOLY” to match Circe’s power. This one is fun, regardless of clichés. Next up is the confrontation between Odysseus and Circe, set to the song “Done For.” The tension and dynamic between Jorge and Talya is flawless, and it makes this entire song absolutely mesmerizing to listen to. Both lay out their reasoning (in lyrical excellence) for willing to take on the other, to protect others. And it transitions to a banger of a finale to match the fantastic beginning, that being “There Are Other Ways.” Unlike the original Odyssey, Odysseus is much more faithful to Penelope and resists Circe’s advances. The chemistry between the two is lyrically fantastic though. Speaking of Odysseus’s much better loyalty, it gives us my personal favorite verse of Act 1.
Back at home, my wife awaits for me
She's my everything, my Penelope
And she's all my power, all my power
But it's been 12 long years
Oh, 12 long years since I have seen my wife
And now the God of Tides is out to end my life
So I beg you, Circe, grant us mercy
And let us puppets leave
…I’m a romantic, what can I say?
Anyways, Circe decides to help the crew. That part of the song has that classic Disney feel at the end, and finishes off a fantastic finale to Act 1’s best saga. One more saga in Act 1 left, now!
The Underworld Saga
“All I hear are screams, every time I dare to close my eyes! I no longer dream, only nightmares of those who've died.”
The most underwhelming fact of this saga is that it’s only three songs, and the opener is where it peaks. Technically, the ending song is fantastic but I just wish there was at least one more song. Let’s start with the emotionally charged opener, “The Underworld.” Rivera-Herrans delivers his best Odysseus performance of Act 1, perfectly delivering his terrified and tortured vocals as the past haunts him all around. Besides the fantastic look into Odysseus’s guilt, we get some quieter moments that serve as emotional gut punches. Polites returns with a brief reprise of “Open Arms” which got me misty-eyed hearing Polites continue to have such a big heart even in the afterlife. But the biggest gut-punch will make you sob, that being the appearance of Odysseus's mother Anticlea (voiced by Jorge’s own mother!). The moment Ody and his mother shared had me in tears. Anticlea had died waiting while Odysseus was away at war, as Odysseus sings, “I took too long…” After that emotionally devastating part, we end the song on a high note. Now, here’s where my conflicting opinions seep in. “No Longer You” is good, and Mason Olshavsky is great as the prophet Tiresias. But something about the song feels so utterly basic and a little too repetitive. The emotions are there, but I just wish Jorge had written a little more to give this some more substance and not to make it feel a bit exposition-heavy. Then we end the saga and Act 1 with “Monster,” as Odysseus decides to embrace ruthlessness to return home. It’s a great follow-up to “Just A Man” as Odysseus wrestles with his morals once more, as his thoughts and struggles feel real through this number. The last thing I have to say is this: I HAVE to highlight the bridge that leads into the final chorus, because it’s top-notch lyrical writing that perfectly highlights Odysseus’s new drive.
I lost my best friend, I lost my mentor, my mom
Five-hundred men gone, this can′t go on
I must get to see Penelope and Telemachus
So if we must sail through dangerous oceans and beaches
I′ll go where Poseidon won't reach us
And if I gotta drop another infant from a wall
In an instant so we all don′t die
…THEN I’LL BECOME THE MONSTER!
The Thunder Saga
“Someone’s gotta die today, and you have got the final say…you? Or your crew?”
Act 2 starts off with one of the best sagas in the whole show, The Thunder Saga. We start off with the siren encounter which spans through the songs “Suffering” and “Different Beast.” Anna Lea does a great job as a siren posing as Penelope, and while Lea’s debut as Penelope wouldn’t be official until the last saga all of the teases were fantastic throughout. This double-whammy does have some nice quirky energy before transitioning into the sirens being slaughtered by Ody’s crew. “Different Beast” has fantastic production values, and is the first great showcase of Odysseus’s drive to get home by whatever means possible. It then transitions into “Scylla.” KJ Burkhauser delivers one of the show’s best vocal performances, as she voices the titular monster. The song is another great flex of EPIC’s production values, and perfectly conveys how man and monster might just be the same. And if you think we peaked there, there’s still two songs left that manage to be on the same level of peak “Scylla” managed. “Mutiny” is a fantastic reprise of “Luck Runs Out” and fantastic song in its own right as Armando Julián delivers his most emotional performance as Eurylochus, coupled by the desperation in Rivera-Herrans’ Odysseus. The emotions and production design go hand-in-hand, and then after Eurylochus slays one of the sun god’s cows….Zeus comes along. Luke Holt delivers a booming and boastful performance as Zeus, as his vocals are perfect for “Thunder Bringer.” It isn’t just Holt’s performance and Jorge’s lyrics, as the backing instrumentals are INSANE. The turning point in Odysseus’s journey is overall brilliantly executed, as the song builds and builds until Ody makes the decision to sacrifice the rest of his crew in hope of seeing his wife and son once more. One detail that I love is the piano solo ending following the smiting of Odysseus’s crew, as it highlights how our protagonist is now alone, having lost every friend and comrade who had lived through an entire war.
The Wisdom Saga
“I know life and fate are scary, but I wanna be legendary!”
With a seven-year time jump we’re introduced to the son of Odysseus, Telemachus (Miguel Veloso, AKA MICO). He makes his debut with “Legendary,” an opener I quite like. It feels so relatable, and it has that “I-Want song” Disney vibe to it that honestly outclasses most of the “I wants” we’ve gotten this century. MICO’s vocals coupled with Jorge’s writing really are another perfect fusion that delivers. We get to see the hope and drive that Telemachus has, and sympathize with his struggles. Unfortunately, The Wisdom Saga is one of the weaker sagas and those struggles begin with “Little Wolf.” Telemachus ends up fighting Antinous (Ayron Alexander), and the lyrics and music aren’t great. Even when Athena appears to assist Telemachus, Teagan Earley can’t save this one. It’s disappointing because it’s one of the weakest (if not the weakest) song in EPIC. But thankfully, “We’ll Be Fine” picks up the slack, as it ends up being the best song in the saga. Athena’s internal struggles following her falling out with Odysseus are highlighted well, as well as Telemachus’s undying hope to contrast Athena’s situation. Earley and MICO sound great together, and there’s a wide range of emotions wonderfully conveyed in this song. But, I have to be constructive. “Love In Paradise” cannot follow up on this, and while Athena’s intro is great and the ending is fantastic…the chunk between of the beginning and end is only okay. Barbara Wangui does a good job as Calypso, and the lyrics are solid. But this is one of the instances where you remember, “this is in fact a concept.” But we end on a high note, nearly beating “We’ll Be Fine” in the process with “God Games.” We get to see so many unique personalities and dynamics in a lyrically well-portrayed way as Athena convinces Apollo (Brandon McInnis of Fire Emblem Engage fame), Hephaestus (Rivera-Herran’s dad Mike), Aphrodite (Janani K. Jha of Survivor fame), Ares (Earle Gresham Jr.), and Hera (Sarah "POESY" Botelho) to release Ody from his fate. And Luke Holt gives Earley a run for her money with another fantastic Zeus performance, and the song (and saga) ends in a fantastic and emotional climax for the ages. I have mixed feelings on The Wisdom Saga, but when it hits its highs it absolutely goes above and beyond.
The Vengeance Saga
“How does it feel to be helpless?! How does it feel to know pain?!”
The penultimate saga of EPIC has only one song that falls short behind the other songs in this saga, that being the opener (“Not Sorry For Loving You”). While Calypso is at least somewhat sympathetic, this one just feels too poppy for me. There’s one fantastic exchange between Odysseus and Calypso but otherwise this song is unfortunately another noticeable weak spot in Act 2. But the rest of this saga is one banger after another. Troy Doherty makes his grand return as Hermes with “Dangerous” following the opener, and it’s somehow even more catchy than “Wouldn’t You Like.” As Hermes offers Ody guidance to make it back home, we get to see a fantastic dynamic expanded upon as Troy and Jorge get their moments to shine throughout. The chorus especially is snappy and excellently paced, highlighting the urgency without getting too intense. Speaking of intensity, we ramp that up with “Charybdis.” Odysseus takes on the titular sea monster, and Rivera-Herrans vocals are confident and desparate in a lyrically perfect combination. The production values also serve to make this one of many cinematic moments that will give EPIC the ending it needed to truly be immortalized. It’s one of the shorter numbers, but it still leaves one hell of an impression.
“There you are, coward.”
And then comes the two-part climax that is Odysseus’s final showdown with Poseidon. Steven Rodriguez delivers big-time with “Get In The Water,” with the writing and vocals perfectly conveying the fury of the ocean god. The tension keeps rising as Ody resists, as the music builds and builds. The cinematic scope conveyed with the music and sound really sells the moment, and culminates just as big as it starts. The ending also is extremely emotional, as Odysseus remembers all he lost…and what he can get back. This brings us to “Six Hundred Strike.” In the most anime-esque finale that could ever anime in EPIC, we get a rock reprise of the background of “Full Speed Ahead” AND an exceptionally badass declaration by Rivera-Herrans that Ody will get back to his son and wife that ends with Odysseus yelling out his ultimate move (“SIX HUNDRED STRIKE!!!”) which absolutely lives up to the hype of anime fans checking out EPIC. There’s also the back half of the song, that’s excellently conveyed via emotions. Odysseus tortures Poseidon until the god finally allows a way back to Ithaca, which is a dramatic showcase of how much Ody has changed in the fight to get home. Rodriguez and Rivera-Herrans delivered on these last two songs, and set the stage for the final saga of EPIC with extremely high expectations.
“After everything you've done…how will you sleep at night?”
"Next to my wife.”
The Ithaca Saga
“What if there's a world where we don't have to live this way?”
Trigger Warning: Mentions of SA
I’m going to tackle this last saga a little differently than the others, but you’ll find out how later. Let’s start with Anna Lea’s official debut as Penelope in this saga’s opener “The Challenge.” We get to see her emotions perfectly captured by lyrical writing, as well as her inner strength to keep pushing back against her persistent suitors vying for her and the throne. But we also hear the song build to a quietly urgent hope that things change with a beautiful reprise of “Waiting…” (from “The Underworld”). It’s easily among the best debuts of characters in the musical, and it sets the bar high for the rest of the saga. “Hold Them Down,” led by Ayron Alexander’s Antinous gives off insane “Hellfire” vibes. It’s a vicious number that really shows how evil and unsympathetic most of these suitors are, and the writing is top-notch in story and lyrical purposes. It’s another song that builds and builds as Antinous begins to incite an uprising intending to kill Telemachus and to rape Penelope. The buildup pays off to a shocking and abrupt end as a hooded Odysseus shoots an arrow with his old bow (through the twelve axe-holes like the original story) that kills Antinous instantly. This leads us into the most intense and violent song in EPIC, “Odysseus”. Ody has had enough as Jorge’s lyrics and vocals portray his rage against the suitors, and the ensemble is no slouch either, when it comes to the suitors desperately trying to use cunning and wit to unsuccessfully outdo the returning king as he responds: “You don’t think I know my own palace?! I BUILT IT.” MICO makes his return as Telemachus in the middle of this number, as we see Odysseus’s son on his way to becoming a warrior of the mind himself. While Telemachus’s inexperience eventually leads him to be outnumbered, Odysseus tears through the rest of the suitors promising each and every one of them a violent demise. The production values throughout this number is filled with a raw intensity that truly feels like a bloody massacre is unfolding, as Odysseus’s ruthlessness reaches his peak (“All of you, who have done me wrong, THIS WILL BE YOUR FATE!”). After all of THAT, we head to the last two numbers. The first being “I Can’t Help But Wonder.” A beautiful song that depicts the reunion between father and son, Jorge and MICO’s emotions enhance the already strong writing as everything feels so real. Odysseus immediately softens up to greet Telemachus, overjoyed to finally meet his son but also sad that he’s had to endure so much without his father there to help. Of course, this reunion had me in tears being the big softy I am. After Ody tells his son to alert Penelope of the news, we get Athena’s final number (confirming she survived Zeus’s lightning during “God Games”). It’s so interesting to see Athena and Ody’s perspectives completely change, as Athena hopes to create a world with more empathy while Odysseus is resigned to the fact that he’ll be unable to make that dream a reality in his life. This reconciliation is quiet, short, and perfect. Now, this would be the best song in The Ithaca Saga. But the last song not only is the best in the saga, not only the best in the entire musical, but quite possibly one of the best songs from a musical ever. And it deserves its own section thanks to that.
A Perfect Finale - “Would You Fall In Love With Me Again”
“Is it you? Have my prayers been answered? Is it really you standing there, or am I dreaming once more?”
Those are the first words Penelope says after Odysseus enters their room once more. It’s the start of a powerful exchange that ties every saga together and delivers an ending that’s so emotionally satisfying. First off, big props to the writing which couldn’t be more amazing than this. Jorge is incredibly talented as a writer and actor, and both of those traits shine the most here. Anna Lea is even better than she has been and might just slightly have the edge over Rivera-Herrans in this song. Anyways, Odysseus believes he’s no longer the man Penelope fell in love with. He opens up about how because of all the blood left on his hands throughout the story, he believes he’s become too ruthless in his pursuit to get back to his love. Yet you can tell that parts of him never changed:
Would you fall in love with me again
If you knew all I've done?
The things I cannot change
Would you love me all the same?
I know that you've been waiting, waiting for love
Thankfully, Penelope manages to overcome Odysseus’s pain as she asks him to move their wedding bed. Ody’s voice rises in response, feeling betrayed as the palace was built around their room as the bed was carved in the olive tree where the two first met. Jorge does an amazing job displaying that brief spout of disbelief and anger, but it’s revealed to be a test by Penelope that proves to her that Ody is still the man Penelope loves. Odysseus immediately softens realizing this, with the one of last uses of the “Penelope” motif being the best use of said motif. And if you weren’t already in a mess of tears, Penelope’s next lines will send you sobbing:
I will fall in love with you over and over again
I don't care how, where, or when
No matter how long it's been, you're mine
Don't tell me you're not the same person
You're always my husband and I've been waiting, waiting
As we build up with “Waiting” and “Penelope” it culminates for an orchestral reprise of “Just A Man” that’s flawless. This entire song is flawless, an emotional conclusion to a musical filled with passion and drive. EPIC: The Musical is the result of artists who have nothing but respect for so many mediums of art and while it has some hiccups, it’s nothing short of a masterpiece. And I can’t wait for what Jorge Rivera-Herrans has on his radar next. Please though, don’t let the upcoming film and stage adaptations ruin it.
[PENELOPE]
How long has it been?
[ODYSSEUS]
Twenty years…
[PENELOPE, THEN PENELOPE & ODYSSEUS]
I-I love you
Saga Ranking:
The Ithaca Saga
The Thunder Saga
The Circe Saga
The Vengeance Saga
The Troy Saga
The Underworld Saga
The Ocean Saga
The Wisdom Saga
The Cyclops Saga
Overall Rating: 10/10