Musical theater is in the middle of a rock renaissance. What began with Hair, the Musical and Jesus Christ Superstar in the 1970s has returned in recent years with shows like Spring Awakening and Green Day's stage incarnation of American Idiot. The American Repertory Theater's premiere of Prometheus Bound continues that trend with wild success, delivering a production that is equal parts stick-it-to-the-man rock concert and immersive theatrical experience.Directed by the ART's artistic director and Tony-nominee Diane Paulus, the production takes over Club Oberon, one of the ART's alternative theater spaces. The majority of the audience stands on the dance floor for the 80-minute production while the action envelopes them from every level of the club. On the opposite wall from the "stage"-occupied mostly by a wailing seven-piece band-is a full bar for those over 21.

Set pieces move on and off the dance floor during the performance, but actors mingle with the audience before the show begins, encouraging them to follow the action of the performance all around the space. Ushers and management even pass out earplugs for use in case the music be too loud for some patrons. Prometheus Bound may be a retelling of Greek mythology, but it is not traditional sit-and-turn-off-your-cell-phone theater.

Paulus creates a dynamic atmosphere, utilizing all aspects of the space to tell the myth of Prometheus, played with raw bite by Broadway veteran Gavin Creel (Hair). Ensemble members shepherd the audience to make way for moving set pieces, but they too rock out to the music, ensuring that the energy of the show never lags.

The music is both the highlight and the driving force of the production. System of a Down frontman Serj Tankian provides music and orchestration to Steven Sater's (Spring Awakening) lyrics and book. Sater's lyrics can be obscure, but Tankian's freshman effort in the rock-musical crossover is stellar.

His music pulses with anguish and force in heavier numbers, then gives way to the eerie, ethereal harmonies of the Daughters of the Aether-the goosebump-inducing Celina Carvajal, Jo Lampert and Ashley Flanagan. Tankian experiments with different styles-a folk anthem to bookend the piece or a calypso, funk and jazz number-with varying degrees of effect, but the cast commits to each number and pulls the audience along for the ride.

Indeed, Prometheus Bound's cast is a wealth of talent. The cast members throb as one to the music, creating infectious energy that spreads through the audience. Though two-time Tony nominee Creel is ostensibly the star-power draw to the show, the production often has an ensemble feel.

Also, Prometheus' unfortunate counterpart, Uzo Aduba, channels raw passion. One of the strongest numbers of the show, she pits her sandy, soulful voice against Creel's, spiraling into a frenzied and mesmerizing cast-wide head bang. Michael Cunio has the most rock-star presence of the cast, and the acidic grit of his voice cuts through every number.

Still, Creel's Prometheus is the commanding, constant presence in the production. He makes Prometheus insolent and provocative, an ancient martyr with heavy eyeliner and lacking a shirt. Known in the theater community for his easy, golden tenor, here he owns Tankian's rock score, overflowing with fury and drive.

He spends much of the show bound to a platform in the center of the dance floor, and while Paulus' staging allows for him to move at crucial moments in the show, Creel shows impressive range within his spatial confinements. No matter the scene, Creel dares the audience to watch him, writhing against chains and glowering at anyone near him.

Plot-wise, Prometheus Bound goes nowhere unexpected: Prometheus starts the show chained to a rock, and he ends it the same way. It is more current in its portrayal of tyranny and defiant uprising, and it rings especially true considering today's political revolutions. The ART embraces the show's political agenda, partnering with Amnesty International to bring awareness to human rights issues across the world.

Prometheus Bound is both a rock concert and a theatrical production with power. It invites the audience into a progressive theater environment and provides a heart-thumping and foot-stomping show. At the least, Prometheus Bound is an intriguing and well-executed piece of theater; at most, it is a work with a mission and a catalyst for change.