‘Kassandra At The Top Of The World’ Is An Intimate Introspective Journey

A character-driven and emotionally rich piece with moments of humor woven throughout, Kassandra at the Top of the World blends mythology and introspection to create an experience that feels both intimate and expansive.

I have always been a huge fan of a Greek chorus. A small group of people sitting on the side of the action, commenting on and poking fun at the main characters, it’s a great addition that has lasted the test of time for a reason. While we see them in old works from writers like Aeschylus and Euripides, we also see them in more modern pieces like Little Shop Of Horrors‘ Urchins and Legally Blonde The Musical’s Delta Nu sorority sisters. They help tell the story from a different perspective, and they are often incredibly entertaining.

Kassandra at the Top of the World is about Kassandra, the daughter of King Priam and Queen Hecuba, the last rulers of Troy in Greek mythology. Blessed and cursed with the gift of foresight, nobody listens to Kassandra when she tells them the future because they believe that she is crazy. Thus, she now exists by herself, after the humans have all destroyed themselves, even though she tried to warn them.

Directed and written by Eileen Tull, the script has a great flow to it. With the vast majority of the words spoken by Kassandra, she processes most of her thoughts by herself. Being the last person in the world, she considers how her parents impacted her, the goddess that she has always prayed to, but never helped her, her own mortality, the Greek captor who took her, her gift, her curse, and more, all while trying not to spin out into madness.

The Greek chorus (a very cheeky threesome played by Dani Major, Jacque Bischoff, and Joél Cordova) is a group of birds who counter the seriousness of Kassandra’s thoughts with humorous interludes. They search the world for anything left worth saving, pick at each other, and tease the audience by almost breaking the 4th wall. They are the levity in this dire situation.

The set consists of a piece of land where Kassandra now lives, along with only a few items she has thought to keep. The land is surrounded by water, with projections of waves rippling along the walls. Soft, musical sounds play in the background as Kassandra speaks, while the lights turn day into night or shift with her emotional oscillations. There are also moments when you hear a heartbeat in the background with a building anxiety, projections and sounds of ash crackling, and other subtle choices that enhance the production.

Kassandra is clad in a green dress adorned with elements that nod to Greek mythology. The birds wear black, with feathered makeup on their faces to match the various colors of their wings. Apollo (a dominating Ethan Carlson) wears a standard “preppy boy” jacket and slacks, trying to appear as important as he thinks he is.

While Kassandra is usually played by Maya Moreau, I saw the understudy, Carleigh Ray, perform. The way Carleigh Ray approached Kassandra made me ache for her. The joy, sadness, hurt, fear, and amusement in both her words and her eyes fully connected with me, and I felt them with her. It was an excellent take on the character such that, even if you haven’t experienced what this character in Greek mythology has, you know those feelings. You know what it is to be betrayed or miss someone. You and she are the same.

Co-produced by the Fat Theatre Project, the Chicago Park District, and The Terror Cottas, Kassandra at the Top of the World is a play I recommend. It is highly character-driven, but all of the elements come together to hand you an immersive experience. This is a thoughtful and engaging production that draws you into its emotional core, leaving you to reflect on its themes and connections long after the final moment. Make time to see it.

Kassandra at the Top of the World runs for approximately 90 minutes with no intermission. This show is recommended for ages 15+.

Kassandra at the Top of the World Chicago Review – Kassandra at the Top of the World is playing at Berger Park Cultural Center through 4/18/26. Tickets can be purchased on the Terror Cottas website. Berger Park Cultural Center is located at 6205 N. Sheridan Rd. in Chicago.