Representing the union of three of the primary gods in ancient Rome, the Capitoline Triad consisted of Jupiter, Juno, and Minerva. Worshipers built a shared temple on the Capitoline Hill in Rome with cellas for each the three gods, and similar capitolia were erected across Rome. Minerva was a goddess of crafts, trade guilds, and war. Her brilliance for strategy and compassion set her apart from Mars, god of war, who tended to represent triumph through military force. She was born fully grown from Jupiter’s skull, and is associated with knowledge and wisdom, but also prone to vindictiveness, especially toward humans who claimed superiority to the gods. Juno, though associated with marriage and motherhood, was a counselor to Jupiter and capable of fierce opposition to her husband if her jealousies were stirred or interests diverged from his. Jupiter, though known primarily as the king of gods and sky, and the larger than life ego and persona that lusted for and manipulated life at whim, was also a god of agreements and contracts, making him seen in some circumstances as a figure for patriotism and justice.
In BORDER LINE, conflict rages in a fictional, modern-day Pannonia as refugees flood into neighboring Moesia. Pannonian ex-pat Jun Caprotina’s orphanage is practically overflowing with children lucky enough to get approval from the Moesian government to leave the camps. Moesian General J. Stator Terminalus is an upstanding general who thinks of himself as a steadying force in a volatile setting, but finds himself in a quandary about Jun’s extracurricular activities. American reporter Min Acheae uses her newfound sense of rebellion to raise the visibility of what’s really at stake as the three find themselves trapped together in the midst of a sudden crisis and questioning loyalties, identity, and the ethical gray areas they each navigates.
CAPITOLINE TRIAD or “Border Line” by Laylah Muran De Assereto
Directed by Dan Wilson
Staged Reading on October 5, 2018 at the EXIT Theatre
Laylah Muran de Assereto has been involved in theatre and writing creative fiction since childhood. She is the current Artistic Director for Spare Stage. This is her fourth year participating in SF Olympians (3rd year as a writer). Her one-act UNDERNEATH THE MILKY WAY IN THE LIGHT OF DAY was presented in SF Olympians 8 and her short FORTRESS FOUND in Olympians 6. Most recently her short play SHAVING BEES was produced as part of PCSF’s Playoffs 2017. Her short THE VISIT will be presented with Playland Productions’ anthology The Grateful Deadly in March 2018. She was a member of the Monday Night Playground SF writer’s pool in 2016/2017. She was one of the collaborating playwrights and editor for Wily West’s production of I SAW IT in 2015. In 2014 her short plays ANONYMOUS ME, CASH FOR CAPES, and JAIN were included in Wily West Productions’ TBA nominated anthology Superheroes. She was a board member with the Playwrights’ Center of San Francisco (PCSF) from 2005-2009 in various roles, and volunteered as a literary committee member until 2017. Laylah was the Executive Producer for Wily West Productions (2009-2015. Her directing credits include, PCSF’s PLAYOFFS 2016 which won a TBA Outstanding Anthology award, ReproRights! (2015-2017), SF Olympians Festival VII, and PCSF’s Sheherezade’s Last Tales (2015). Laylah performed Celia in TALKING HEADS by Alan Bennett, directed by Stephen Drewes for Spare Stage Theatre in March 2016. See www.laylahmuran.co for full bio.