Sophomore Theatre student, Atticus O’Banner performs as human-turned-bird Epops (Photo courtesy of Jordan White).
Adaptation combines relatable humor, music with commentary on political corruption, social restrictions, gender norms and economic struggles
An AUM Theatre professor’s new adaptation of Aristophanes’s comedy “The Birds”, named “The Birdz”, treated audiences with more than just a retelling of a 2,400-year-old Greek comedy. They experienced a heartfelt, funny and sharp commentary on today’s world in two weeks worth of performances that wrapped up Oct. 12.
“The Birdz” tells the story of two disappointed humans who flee society in search of a better world. On their journey, they discover a fantastical bird city called “Coo Coo Land.” There, they not only find freedom, but chaos as they join the birds in plotting to overthrow both mankind and the gods. AUM Professor of Theatre Neil David Seibel’s adaptation cleverly blends ancient satire with modern stresses about corruption, conformity and escapism. The result is a production that is both lighthearted and deeply reflective.
One of the most impressive aspects of “The Birdz” was its visual design. Costume designer Tyreanna Causey gave each bird a distinct personality through detailed and expressive costumes. “I actually studied bird behavior to make sure the characters felt authentic,” Causey said. “The cockatoo’s wig, for example, spikes up just like a real one’s feathers would when it’s curious or excited.” That attention to detail paid off. The stage often felt like a living aviary, bursting with color and personality.
Despite time constraints and a few last-minute script tweaks, the cast delivered a smooth and engaging performance. Atticus O’Banner, who played Epops, balanced comedic energy with emotional sincerity in his portrayal of the human-turned-bird guide. “Getting over that initial hesitation was a big hurdle, but after that it was smooth sailing,” O’Banner said. His charisma and timing brought much of the show’s humor to life.
Other standout moments came from the ensemble of birds, each representing a different slice of society. Featuring flamingos, cockatoos, finches, shoebills and storks, the cast’s chemistry and physicality were a joy to watch. The production also made creative use of sound and projection marking the first time in Seibel’s AUM career that microphones were used to enhance live singing. These modern touches gave “The Birdz” a musical edge that complemented its satirical tone.
While the play poked fun at society’s flaws, it also celebrated creativity and community. The humor felt fresh without being heavy-handed, and the themes: political corruption, social division and the search for belonging resonated deeply with a college audience. As a reviewer, I found myself both laughing and reflecting, which is the true mark of effective theatre. “It’s something you won’t be able to see anywhere else,” Causey added. “Because the director just wrote it!”
In the end, “The Birdz” soared thanks to its bold writing, expressive performances, and meaningful message. It proved that classic theatre doesn’t have to stay trapped in the past, it can fly freely into the present, feathers and all.
Theatre AUM’s next production, Theatre AUM’s 50th Celebration Showcase, directed by Val Winkleman, will run Nov. 13–16 in the Taylor Center Theatre.
