Frequently Asked Questions

Even though The Fates of Olympus is royalty-free for educational institutions, we still require a license so we can keep track of where and when the play is being produced!

This helps us:

• Celebrate and support schools and universities producing the play.
  
  

• Follow up to hear how the production went.
  
  

• Share success stories (with your permission).
  
  

• Ensure the play is being used as intended.
  
  

The license is simple, free for schools and universities, and designed to protect both you and the authors! Not to create barriers to producing this play. 

Yes! For schools, universities, and educational drama clubs, the play is free to produce.

“Free” does not mean “no permission required,” but it does mean:

• No performance royalties
  
  

• No per-show fees
  
  

All we ask is that you:

• Obtain a license
  
  

• Purchase enough scripts for your cast or reach out to us for a digital version.
  
  

That’s it😀

If you are an educational institution (school, university, or extracurricular drama club), the license allows you to:

• Produce The Fates of Olympus as written
  
  

• Perform one, two, or all three narrative paths (Olympian, Cretan, and Athenian)
  
  

• Stage the play indoors, outdoors, or in non-traditional spaces
  
  

• Interpret staging, movement, design, and casting creatively
  
  

You are also required to:

• Credit Gersom de Koning and Jordan Boehm as the authors in all promotional materials
  
  

• Use the official title of the play
  
  

• Respect recording and sharing limitations

• Purchase enough copies of the script for your cast

More information on purchasing scripts can be found here:
https://a.co/d/gqURDmd

Note: Any significant text changes or adaptations beyond path selection require prior approval.

No.
There are no hidden fees, royalties, or reporting requirements for schools and universities.

The only cost involved is purchasing the scripts for your cast. You can purchase these on Amazon (physical copies) or you can each out and inquire about purchasing digital copies of the script (to print at school). 

Yes!
Community theatres, festivals, and professional companies are welcome to license The Fates of Olympus.

In those cases:

• A licensing fee applies, or
  
  

• We may arrange a box office revenue split, depending on the situation
  
  

Each professional or community production is handled individually, so feel free to get in touch to discuss options.

Performers

• The youngest performers should be Middle School aged due thematic depth and ensemble coordination. This play works excellently with High Schoolers, College Students, and Adults alike.
  
  

Audiences:

• All audiences can find something they love in this show. It has philosophy, is relatable, funny, and contains spectacle, no one will be bored! 

• Upper elementary students (Grades 4–5) and up can still enjoy watching the play, even with some of the philosophical content.

• Younger audiences often engage with the spectacle, mythology, and audience interaction.
  
  

Anecdotally: even children in Kindergarten and 1st grade have enjoyed watching the production.

Yes — The Fates of Olympus was written specifically with schools in mind.

Feedback from parents and administrators consistently highlights that the play:

• "Handles complex moral and philosophical questions with care."
  
  

• "Presents multiple perspectives rather than simple “right vs. wrong” answers."
  
  

• "Encourages thoughtful discussions and nuances rather than shock value or theatrics only."

The play includes mild, mythological violence and themes, such as:

• Theseus fighting the Minotaur

• References to punishment or divine power

• References to marital fighting

• Reference to death and the afterlife
  
  

How intense these moments feel is largely dependent on directorial choices and staging. There is no graphic violence or explicit language written into the script, even though there is fighting and even death, how these moments are portrayed need not be graphic. 

Not at all.

The play is designed to be enjoyable:

• With prior knowledge of Greek myths
  
  OR

• Without any background knowledge
  
  

Familiarity with mythology adds layers, but the story, themes, and audience interaction stand on their own.

The play includes approximately 50 roles.

However:

• Many roles can be multi-roled
  
  

• Cast size can be reduced significantly depending on your needs
  
  

• Ensemble-based casting works very well
  
  

This makes the play flexible for both large programs and smaller schools.

Yes — multi-roling is encouraged where practical.

If students play multiple roles, you’ll need to consider:

• Performing different narrative paths on different nights
  
  

• Scheduling costume and role transitions carefully
  
  

• Creating clear physical or visual distinctions between roles
  
  

Many schools find this a great challenge for advanced or ensemble-focused students.

Yes — many roles are intentionally gender-flexible.

• 14 roles are explicitly written as any gender
  
  

• Several roles can be played cross-gender if needed
  
  

• 16 roles are written as male-presenting (requiring male energy or appearance)
  
  

• 20 roles are written as female or non-binary
  
  

The play supports inclusive casting while still honoring narrative clarity.

Yes, within reason.

Because the play consists of three distinct narrative paths, schools may:

• Perform only one or two paths instead of all three
  
  

• Adjust performance length by selecting paths strategically
  
  

Any additional cuts or textual adaptations should be discussed and approved in advance.

Each narrative path runs approximately:

• 1 hour to 1 hour and 30 minutes
  
  

Total runtime depends on:

• Number of paths performed
  
  

• Audience interaction pacing
  
  

• Directorial choices

The play is deeply rooted in educational themes.

• Olympian Path:
  Explores morality, power, and accountability as the gods "test" the audience's conscience. The audience votes on the ethics of divine actions, shaping the ultimate fate of lost souls.
  
  

• Cretan Path:
  Re-examines the myth of Theseus and the Minotaur, questioning heroism, monstrosity, and man-made suffering. The audience influences the final interpretation.
  
  

• Athenian Path:
  Focuses on justice, democracy, bias, and daily life in ancient Athens through intimate, human-scale storytelling.
  
  

Blending Greek mythology with threads of global myth, the play invites discussion around belief systems, cultural narratives, and the evolving nature of the divine.

Yes, but this will vary depending on your school’s approach.

The play can connect naturally with:

• Drama & Theatre
  
  

• English / Literature
  
  

• History
  
  

• Classics
  
  

• Philosophy or Ethics

A full staged reading is generally not ideal, due to the play’s interactive and physical nature.

However:

• Classroom performances
  
  

• Workshop-style stagings
  
  

• Partial scenes or paths
  
  

can work very effectively in an educational setting.

We do not currently provide a free digital script, but if you are unable to purchase the scripts on Amazon, you may reach out to us.

However, the play is available in Kindle format, Kobo, and on Google Books making it accessible for those who prefer digital reading.

Yes — but they are highly flexible.

The script leaves room for:

• Minimalist or elaborate designs
  
  

• Symbolic staging
  
  

• Student-driven creative interpretation
  
  

This makes it accessible for schools with limited technical resources.

Absolutely! Actually, we actively encourage it!

The play works especially well in:

• Outdoor venues
  
  

• Black box spaces
  
  

• Site-specific or immersive environments

Yes, under specific conditions.

Schools and universities may:

• Make one archival recording
  
  

• Share it privately with friends, family, and school members
  
  

The recording:

• Must not be publicly available
  
  

• Must not be downloadable
  
  

• Must not be used for commercial purposes
  
  

Any other institutions would need to reach out for written permission to see if they can record their production. 

Yes!

• Photos: Fully allowed
  
  

• Short video clips: Allowed for promotional purposes
  
  

Please do not post:

• Full scenes
  
  

• Full performances

All promotional materials (print and digital) must include the following credit in a clearly legible font:

“The Fates of Olympus was written by Gersom de Koning and Jordan Boehm and is licensed through Open Hearth Press.”

This credit must appear on:

• Posters
  
  

• Programs
  
  

• Websites
  
  

• Social media announcements

The Fates of Olympus was written by Gersom de Koning and Jordan Boehm.

Yes!

You can reach them via:

• The contact form on this website

• Send an email addressed to them to openhearthpress[@]gmail.com

They are always happy to answer questions or support educational productions. 

This play is actually 3 plays within a play. You don't have to do all of them, but you could! Each play is called a “path”. Each path is divided into scenes which snapshot life/ideas/themes from Greek mythology or the Greek world. In a school or university setting, this script allows you to give everyone a roughly equal-sized part and a different acting challenge. However, should you not have enough actors to meet the needs of the show, you could opt to only have 1 or 2 paths shown or opt to have certain characters (such as Theseus) not be played as much in multi-role. There are 50 parts total, so more than enough to go around or, if you prefer, lots of options for doubling parts up.

This play also mixes different mythologies from cultures all over the world on purpose here and there, some of this will go over the audience’s head, but the discerning audience member will enjoy these extra details. The reason for sprinkling in bits of other mythologies is that it allows for us to explore universal themes about belief, culture, and the changing nature of gods within the diverse human experience. It also allows for the actors to interpret some of the characters in different ways. I have given a brief explanation of every scene to help the director with the interpretation.

In broad terms the paths can be summarized as follows:

The Olympian Path follows scenes that question the power of the gods. The audience is brought into these scenes and asked to participate in voting at the end of every scene. Based on the ‘morality’ of their actions, they can receive a result. This result tells them whether they go deep into the Underworld, Celestial Hades (purgatory), or to the Elysian Fields.

The Cretan Path follows the story of Theseus and the Minotaur. This story begins with Icarus and Daedalus (the creation of the labyrinth) and ends with Theseus slaying the minotaur. The audience only participates at the end and this path questions the ethics of man-made suffering and standing up to oppression. At the end, the audience decides if the Minotaur lives or dies.

The Athenian Path follows stories reflecting themes of democracy, justice, and bias. Each scene deals with different parts of Greek life and unpacks ideas to give the audience a peek into what life may have been like for someone in ancient times. The audience gets limited participation in these events, but does get the right to weigh in on occasion.

I’ve also labelled roles with who should play them. “Any” means anyone can play the role. “Female” and “Male” roles should be presented as such, as usually it is integral to the story or character. In some cases, to meet your casting needs you may need to have a girl play as a guy or something similar– that is what I had to do as well and not a problem! It is acting after all! “Non-binary” means that this character can be played masculine, feminine, or a mix of both. I’ve tried my best to keep roles as open as possible! Obviously, try to use discernment and your discretion when making conscious casting choices dependent on your situation.