Mythical quest takes audiences on wild ride in The Lightning Thief

Hey there, time traveller!
This article was published 07/12/2025 (225 days ago), so information in it may no longer be current.

Manitoba Theatre for Young People plunges a full house of mortals into the shadowy underworld as it presents the Greek myth-infused The Lightning Thief.

The musical holiday production (90 minutes including intermission) is based on American author’s Rick Riordan’s Percy Jackson fantasy novel series, featuring a heavenly, all-local cast that would make any god or goddess proud.

After being expelled from school for his “fifth time in six years,” 12-year-old Percy Jackson, a “half-blood” son born of a human mother, Sally Jackson, and Poseidon, god of the sea, embarks on a hero’s quest to rescue a powerful lightning bolt stolen from Zeus.

We follow Percy into Camp Half-Blood, where he learns he’s a demigod, before setting out with his half-blood chums Annabeth and Grover to various locales, including Las Vegas and Los Angeles, with all roads ultimately leading to Hades.

A wonderfully affirming nod is paid to Percy’s “superpowers” of ADHD and dyslexia, which allow him (and real kids living with these more challenging realities) to tap into his ability to think outside the box during his heroic travels.

Award-winning director Cherissa Richards skilfully navigates playwright Joe Tracz’s highly convoluted script, delivered at lightning speed (a screaming alert should be noted in the program).

A stream of mostly hard-driving rock numbers featuring music/lyrics by Rob Rokicki further propels the narrative; kudos to music director Kelly Robinson for bringing out the very best out of her closely knit seven-member ensemble.

Not only did these seasoned triple threats nail their tightly cohesive harmonies, but they also did it while high kicking through Alexandra Herzog’s razor-sharp choreography, brimming with visual tricks and textures.

Who knew demigods could toss off funky hip-hop moves and do the splits?

Hamilton, Ont.-based designer Robin Fisher delivers an equally evocative and functional set comprised of raised platforms — and even a nifty slide for the three friends to slip down into the underworld — that seamlessly morphs between Percy’s series of various travel stops.

Her eclectic costumes span practical camp clothes to beastly trousers and headpieces, augmented by props (including an electrified, zippy lightning bolt), as well as eye-popping, larger-than-life puppets, ranging from a cyclops to a satyr.

Winnipeg lighting designer jaymez floods the stage with bright tones and darker shadows, including fiery red hues once we land in hell.

Brady Barrientos brings both heart and a gung-ho spirit of adventure to Percy, his compelling vocals first heard during opening number The Day I Got Expelled. His nuanced, organic portrayal allows him to traverse an emotional trajectory, as he moves from the pain of learning his father Poseidon had left his young family to empowered firecracker whose final vow, “I’ll be back next summer,” is one you know he’ll keep.

The actor proves particularly poignant during his more (albeit all-too-brief) tender scenes, as he grapples with parental abandonment — relatable even if your papa isn’t a god.

Two beloved pillars of the local musical theatre scene help drive this show as Percy’s trusty travel companions. The first of those is the consistently rock-solid Stephanie Sy as Annabeth, coming to terms with her own insecurities as the demigod daughter of Athena. She boasts a stratospheric soprano range — her solo My Grand Plan is a standout moment — matched by the energy of a thousand lightning bolts.

Nathaniel Muir marks an impressive MTYP première as Percy’s pal Grover and a fast-talking “Mr. D,” a.k.a. Dionysus. He seems to be making a career out of portraying shaggy beasts — he was a memorable Cowardly Lion in Rainbow Stage’s Wizard of Oz — and he baas and bleats as his goat-like alter-ego.

Another fine company debut is Omar Khan, whose natural gravitas as teacher Mr. Brunner/Chiron, the water-loving Poseidon, wildly clad in Hawaiian togs, and Hades helps counterbalance the show’s flightier moments of fancy.

The way both Khan and Muir modulate their voice and physical gait in different roles is a master class in characterization.

The production rounds out with Alyssa Crockett, who cackles and torments Percy as mean-girl Clarisse La Rue (also Mrs. Dodds), and Devin Lowry as his friend Luke. The latter’s fish-rotten portrayal of “Smelly” Gabe, the boy’ s bullying, belching stepfather, and Ares further displays his versatility.

Holiday shows are typically life-affirming confections as alluring as a festive plate of bonbons. However, this production’s sheer intensity only numbs the senses, leaving the audience spent by just keeping up with the whipsaw narrative. It would have been bolstered by additional quieter sections for contrast.

The spooky Oracle’s message during Act II’s aptly titled The Oracle is mostly lost in translation, as are many moments when the show’s overly amplified volume obliterates spoken dialogue and sung lyrics by a cast that has clearly worked so hard to mount this ambitious show.

However, The Lightning Thief’s message of rising above whatever life — or the gods — throws at you is one that never grows old. When its plucky protagonist, a “good kid who’s had a bad run,” declares “We have to fix things in ourselves” during the rousing finale Bring on the Monsters, you believe him.

winnipegfreepress.com/hollyharris