Homer stage line
Our Route, Rates, and Schedule — Alaska Bus Company
Routeone of the most scenic drives in AlaskaOur bus route runs between Anchorage and Homer with stops in Girdwood, Cooper Landing, and Soldotna.
Route Overview
The Northbound trip departs Homer in the morning and arrives in Anchorage in the early afternoon.
The Southbound trip departs Anchorage in the afternoon and arrives back in Homer in the evening.
Passengers can hop on or hop off our bus anywhere along our route.
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Departure Times
*ApproximateNorthbound
| Homer Departure: | 8:00 am |
|---|---|
| Soldotna Departure: | 9:45 am |
| Cooper Landing Departure: | 11:00 am |
| Girdwood Departure: | 12:15 pm |
| Anchorage Arrival: | 1:00 pm |
Southbound
| Anchorage Departure: | 2:00 pm |
|---|---|
| Girdwood Departure: | 3:00 pm |
| Cooper Landing Departure: | 4:15 pm |
| Soldotna Departure: | 5:30 pm |
| Homer Arrival: | 7:00pm |
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Rates (one-way)
Our rates are based on how far you travel with us.
Rates Overview
Rates are for one-way travel and start at $49 for a single stop and top out at $109 for a full-length trip between Anchorage and Homer.
Bus stop Locations
Ted Stevens International Airport Bus Stop - bus parking near fountain outside Alaska Airlines baggage claim.
Homer: Aspen Suites Hotel Homer - 91 Sterling Hwy, Homer, AK 99603
Soldotna: Starbucks/Domino’s - 43981 Sterling Hwy, Soldotna, AK 99669
Cooper Landing: Wildman’s Store - 19194 Sterling Hwy, Cooper Landing, AK 99572
Girdwood: Coast Pizza - Tesoro Mall #10 Seward Highway Mile 90, Girdwood, AK 99587
Anchorage: Ted Stevens International Airport - South Terminal (bus parking outside Alaska Airlines baggage claim.
)**Seward: Although we are no longer offering direct service to Seward, travelers can ride with us to Cooper Landing then transfer to/from Seward with Wildman’s in Cooper Landing. Their phone # is: (907) 595-1456
Additional Information
Luggage: 2 bags under 50lbs + 1 carry on item per passenger. Additional bags will be charged the parcel rate.
Walk on passengers are welcome although reservations are highly recommended.
All times are approximate and subject to change with road conditions and construction.
Parking- Please, no overnight parking at our bus stops.
We pickup/drop-off passengers along the Sterling highway however this must be arranged by phone in advance.
Due to the size of our vehicles we are unable to do residential drop offs/pickups.
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Passengers showing signs of intoxication are not permitted.Alaska Bus Company has the right to refuse, alter, or cancel any reservation or route at any time.
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We travel through Denali State Park, upper Susitna Valley and take out near Trapper Creek, a historic gold mining town.
The scenic trip continues into the Kenai Mountains through Turnagain Pass, past the turquoise waters of Kenai Lake, through the towns of Cooper Landing, Soldotna, Ninilchik, Anchor Point, and into Homer.
The path of Odysseus through the centuries
- Theater
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The play “Odyssey: Here and Now” was presented to the audience at the Levendal Theater in the fall of 2021 in an unusual format of a creative laboratory: four directors worked on the production at once.
The resulting work fully continues the traditions of previous performances created by the artistic director of the theater Iskander Sakayev. This is expressed both in the general atmosphere of the production, and in the newly amazingly selected costumes, as well as in other details such as electronic music, an abundance of mass and grotesque scenes, the presence of vocabulary on the verge of a foul, combined with Homer's poetry. All this creates a feeling of another immersion in the dear and beloved in the constant theater viewer.
The main thing that gives out the work of the creative laboratory is the composition of the performance. It is made up of small sketches, each of which represents an episode from the life of Odysseus. Moreover, even the role of the most ancient hero goes to different actors -
based on the vision of his image by the creator of a particular scene. At the same time, the chronology is deliberately violated (for example, the scene of the hero’s descent into Hades turned out to be almost at the very beginning), gloomy and poignant moments of revelations alternate with ironic scenes like a sketch about the smell coming from the boatswain, as well as
with inserts about Odysseus that go beyond the classical plot, transferred to the present.
Such a seemingly strange storyline helps the rather long performance, composed of many episodes, look coherent and
keep the viewer's attention for two and a half hours.
The composition of the performance naturally suggests analyzing it based on episodes, but I would like to abandon this approach and start more from the work of the actors and the ideas embodied in the production. I must say that each new performance of Levendal opens up for me the scale of the possibilities of another actor. “[Not] Taming the Shrew” will definitely be included in the list of the best roles of Margarita Pavlova, the performance “Flood” gave the viewer an amazing image of Sophia performed by Anna Bukharskaya, and “A Clockwork Orange” allowed Artyom Osadchy to open up. Now Aleksey Kopylov showed himself. First, he got the most difficult monologue of Telemachus (the son of Odysseus), touching on the eternal question of heroism and its price. What kind of life is better: full of outstanding military victories, the glory of which will pass through the centuries, but far from home, or unremarkable, but surrounded by loved ones, next to children.
Telemachus never comes to a final answer: he curses his father, throws defiant remarks into the void, says that he dreams of burying Odysseus under the stone that he once placed as a cenotaph. Only behind all these words one can see doubt, despair, sons of love, which nothing can stop. And this despair in the end becomes not only expressed, but also expressed, and the intonation, restrained until then, turns almost into a cry. The actor either approaches the very edge of the stage, looking up and shaking his hand, then turns around, leaving and, as if having completed his speech, then stops abruptly and again turns to the invisible interlocutor. The scene is incredibly powerful.
No less remarkable is the episode played by Alexei Kopylov together with Margarita Pavlova. In the thread of the story about the fate of the ancient hero, a plot sketch about the fate of the “modern Odysseus” is suddenly built in, for whom the road home is the road from work, along the way with which he enters the grocery store, and also either to a brothel, or to his mistress, but it smells of him as a result of
horses.
The director builds this scene in contrast to a long (by the end, already a little annoying to the viewer and beginning to arouse indignation in a particularly quivering audience) everyday disassembly and suddenly a deep denouement with thoughts about love as a path and about why this path can be so tortuous. Here again is an interesting acting job: it seems that only a few seconds ago the hero was jumping around the stage in the form of a dissolute and narrow-minded womanizer, but suddenly the performer changes dramatically: he kneels, ties a rope around his neck, directs a look full of mental anguish into the distance. This transformation and the final scene of the episode achieve marvelous effect.
Quite unexpectedly, the motive of the inevitability of aging appears in the performance, and here we should already note the excellent work of Vladislav Altaisky. The figures of age appear in front of his face, replacing each other: 56, 65, 95, the veins on the neck swell, the actor himself seems to shrivel, decreasing in size, and his remarks sound like a woefully cracked lamentation of a very old man.
Although, of course, the main motive of the play is the importance of home for each of us. The premiere screenings took place in the fall, so the creators of the production, of course, could not predict the current wave of emigration, but how painful is the dispute between Odysseus and Eumeus about the place of home in the fate of man, about
the doubtfulness of leaving for the sake of leaving, that our home, in essence, is us ... The modern context is supplemented by the irony of the nineteen-year-old Eumeus about the fact that Penelope has been the only and stable ruler for twenty years now, and there is no other ruler and there will not be Maybe.
The image of the god Zeus in the scene of the trial of Odysseus is also presented with some mockery and disdain: the behavior of the deity who seems to be administering justice is in fact far from striving for justice, and the motivation for sentencing, as well as disregard for the circumstances of the process itself, seem to continue the dispute Odysseus and his slave Eumeus.
At the end of the performance, the ancient hero finally swims to his native Ithaca, having lost all those with whom he set off on the journey. The one who loved and appreciated his home returned to it. The one who had been waiting for him all these years, waited. All the rest and everything else disappeared into the centuries without a trace, although it once seemed significant and large-scale, and
the story of Odysseus has come down to us. Everyone has their own path, but once again looking at the fate of this semi-mythical person in the interpretation of Levendal, we will find in him something valuable and significant for ourselves. This, perhaps, is what distinguishes a deep work of art from a passing material: it raises many questions and makes you look for answers to them.
Text: Egor Kulikov
Photos: Tekusia Kaida
Tags Homer levendal OdysseusHomer's "Odyssey" in the "Baltic House"
22:36August 27, 2021
626views
22:36August 27, 2021
Andrey Prikotyuenko released GomerOdiasseyenko.
What else can be staged in the gigantic — and truly cyclopean — space of the "Baltic House" if not Homer's "Odyssey"? Andrey Prikotenko, the chief director of the Novosibirsk theater "Old House", but in general a person close to St. Petersburg, decided on this. Prikotenko graduated from our Theater Academy, the course of Veniamin Filshtinsky, and staged a lot in St. Petersburg theaters, including the same "Baltic House".
Creatures and gods
Most often, directors solve the Odyssey with the help of puppets and objects: it is more convenient to embody all the plot rotations with the participation of gods and unprecedented creatures. Prikotenko, remaining faithful to the drama theater, tried not to overshadow the actors with external means, although there are many effects here. This is not often seen: in a large rarefied space, the artist pronounces a long poetic monologue, and all the attention of the viewer is focused on it. The three-hour action sometimes stalls, it has yet to gather, but the director carried away the troupe.
It does not mean at all that the "fantastic" line of the poem was obscured. On the contrary, it is the gods and all kinds of creatures that Odysseus encounters while getting from Troy he destroyed to Ithaca, take a lot of time. Homer peers intently at what is happening in Ithaca: suitors seeking to take the place of the missing king, Penelope, unraveling at night what she managed to weave during the day, and Telemachus growing older than her days. This is associated with the Odyssey wanderings. In the performance, Penelope is quite a service figure, just a beautiful long-haired woman who periodically appears with a little boy: like a flash of memory of her relatives.
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Closer to the finale, Prikotenko gives Yegor Lesnikov, the adult Telemachus, a long monologue. Lesnikov performs it hysterically, trying to convey the inner pain of his son who grew up without a father, and the acting passion is still at the expense of meaning, but there is room to grow here.
And the grooms are guessed in one of the last scenes, when several young handsome men from the Baltic House troupe, who previously portrayed Odysseus's companions, then Poseidon's assistants, put on exquisite evening costumes and move in a strange dance. Only instead of trousers, long skirts, which paradoxically emphasize the masculinity of the actors.
The director, however, did not stage exactly Homer, but his own play based on the Odyssey. These verses are devoid of archaic heaviness, sometimes approaching the hexameter, then completely departing from it. Something inspired by other authors, so, in the lines "It is clear that Poseidon really expanded space for us, increasing infinity to infinity" Brodsky's poem "Odysseus to Telemachus" comes through: "... As if Poseidon, while we were wasting time there, stretched the space."
Hyperbole, allegory, metaphor
The famous St. Petersburg actor Taras Bibich, who has already played Prikotenko in several performances and is also a Filshtinian, has been invited to play the main role.
Bibich is placed in difficult conditions - for a good half of the action it seems that he "has nothing to play": if the wife and son are lost in the overall composition, it becomes not very clear where Odysseus is heading. What makes him overcome trials, what is this Ithaca to him? Then the actor will have strong soulful moments, but before that you still need to swim. Nevertheless, Bibich holds our attention, even when it seems to be directed to something else - to an external effect or a fantastic character. As a separate person with his own inner dimension, Odysseus appears gradually, at first rather merging with the rest in multi-figure mise-en-scenes. Here is a memory of how Troy was taken: a wooden frame covered with plastic wrap, and young men are slowly stuffed into it, one by one. They are cramped, they are stuffy, a moment - and the Trojan horse rips up from the inside.
The gods and creatures on the path of Odysseus are solved theatrically and with humor, in which the set designer Olga Shaishmelashvili, the author of both the stage space and costumes, is largely credited. For example, Maria Lysyuk in the form of the nymph Calypso, on whose island the hero spent 7 years, appears with huge buttocks and many breasts, like the famous statue of Artemis of Ephesus; and it is not hidden that the costume is made of foam rubber. And Yury Elagin's Poseidon is a scuba diver in fins. Unlike most actors, who strive for elation of speech and "take the scale" somehow deliberately, Elagin's character addresses Odysseus casually and colorlessly, even with the words of a punishing god. Poseidon looks like a tired overseer, for whom execution is part of daily work, but at the same time one feels how he is hurt by the fact that Odysseus blinded his son Polyphemus. The actor gave the god a human volume, which is why the whole next scene does not look like just a trick, when special devices spray water, clouding the space, and Poseidon's servants (also scuba divers) drag the bound Odysseus back and forth across the stage.
Retribution is inevitable
There is something tricky in Taras Bibich's nature, and it seemed that famous cunning would be decisive in his hero. But the emphasis is not on that. Odysseus does not look like a dodgy winner, for good reason, and the performance ends at the moment when he set foot on Ithaca. There is no joyful recognition and reunion with relatives. Before us is the most ordinary and suffering person, aware of his guilt. The most powerful and poignant moment is when Odysseus recalls how the Greeks, having destroyed Troy, sprinkled salt on the ground: so that not a single living sprout would appear in a hated place. The actor seems to oppose to Homer with his idea of a "just war" the idea of a war, especially an aggressive one, as an evil, and retribution is inevitable. "I am now Troy," says Odysseus.
At the beginning of the performance, Odysseus and his companions appeared in modern camouflage uniforms, took them off and threw them into the washing machine to put on short men's skirts, referring to the archaic. At the end of the Odyssey, not only costumes go into the mouth of the machine, but also the hero's companions themselves.
