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A NOISE WITHIN PASADENA ARGONAUTIKA: THE VOYAGE OF JASON AND THE ARGONAUTS THEATRE REVIEW - Table To Stage

MAY THE GODS BE WITH YOU

Bring on the gods: Athena, Medea, Hera, Aphrodite and more. Then fasten your seatbelts as you immerse yourself in the adventure, the schemes, the bravery, the disappointment, the love, the betrayal, and the tragedy. In short, the human condition in all its dimensions rises to the surface  as A Noise Within debuts ARGONAUTIKA: THE VOYAGE OF JASON AND THE ARGONAUTS in its Pasadena theatre space. The show plays in repertory with OTHELLO and A GLASS MENAGERIE thru May 5.

Schoolchildren already may be familiar with the rough and tumble account of Jason and the Argonauts from a rather bare bones movie interpretation often finding its way into middle school classrooms. This particular version, though, is shaped by Mary Zimmerman, the award-winning adapter and director of many such reveries on Greek mythology.  

My first experience with this artist’s vision occurred in the Eighties with her METAMORPHOSIS at Circle In The Square (Uptown) in NYC while sitting in the front row of the theatre gazing reflectively on a pool of water. Even then, this critic was struck by Ms. Zimmerman’s commitment to the elegance and eloquence of ritual as well as the majesty inherent in Greek and Roman mythology. That same focus is in evidence here…in a “boatload” (although correct nautical terminology demands that it is a “shipload”, of course)

The story does involve a vessel, the “Argo”, transporting an assortment of brave men on a perilous journey to recover the golden fleece. Dangerous rocky impediments, sea monsters, Sirens et al pose almost insurmountable challenges to Ty Mayberry (“Jason”) and his crew along the way. Once again, Mary Zimmerman ruminates using water, one of the wellsprings of life. Even though the mythic heroes operate on a different plane than humankind, the lessons are everywhere  apparent.

The Argonauts, among the most capable warriors in the realm, include the following: Frederick Stuart (“Hercules”), Michael Uribes (“Meleager”),Richy Storrs (“Hylas”), Evan Lewis Smith (“Idmon”), along with Justin Lawrence Barnes, Collin Bressie, Marc Leclerc, Lorena Ruiz,  Bradley Alan Turner (all “Argonauts”), plus, as a result of Jason’s deceit, Sam Christian (“Pelias’ son”).

Trisha Miller (“Athena”) and Veralyn Jones (“Hera”) provide assistance to the valiant crew with Athena serving as the story’s main narrator. Hera injects biting, smart-ass commentary here and there as well as some philosophizing packed into her explanations. Ms.Miller absolutely nails Athena, smartly clothed in battle gear herself and complete with accouterments. Even with the mantra of “bump it with a trumpet” ringing in my ears, it was not difficult to focus on the goddess Athena’s dominating presence (btw apologies for the lame Mazeppa joke). On the other hand, Ms. Jones’ Hera could use a dash more bite in her characterization overall. Love her “old woman” crossing the river though.

Jason’s adventure begins with the demand of the usurper King Pelias (Alan Blumenfeld) that he locate the golden ram in a faraway land and return with the fleece if he wishes to ascend the throne in Pelias’ stead. Initiating a ruse to entice the old man”s son to join the crew (which hits paydirt), Jason succeeds in rallying the men to follow his lead through the troubling waters ahead.

And so, the trials begin. With Athena and Hera keeping an eye on the exploits of the Argonauts, the fantastical elements of the voyage emerge, wrapped in an array of puppetry, aerial hijinks, foreboding sounds and music, masks and danger as the oars rhythmically proceed. Everywhere beefcake flaunts as testosterone urges them onward (and none more heroically than Mr. Mayberry). The ladies also exert their feminine wiles (and a multitude of machinations) in enticement of Jason and his  Argonauts as in the “Women of Lemnos” segment (also featuring Helen Jane Planchet) . Included in the journey’s exploits are four of the women in the cast who often rise from the ranks in multiple, unique characterizations that advance the plot. In fact, actors from the entire ensemble double and triple their contributions, each playing several characters, in surprising ways using the previously mentioned puppetry, ropes and silks – abetted, naturally, by offstage physical transformations – in forwarding the inviting narrative.

Cassandra Marie Murphy scores in a number of distinct guises including a ditzy interpretation of “Aphrodite” which may depart from the traditional vision usually assigned this goddess. Another radical variation on our mythological understandings rears its head in the version of “Medea” presented here. Isn’t she the one who murders her children? Suffice it to say that Angela Gulner, whose relationship with Jason dominates Act II, emotes heartily unique emotions as her story unfolds. Oh, and prepare to be bemused with an interpretation of Hercules also at odds with our traditional knowledge of Greek stories from our youth.

All of these endeavors benefit from the sure-handed direction of Julia Rodriguez-Elliott. She has created a dazzling panoply of mythic proportions throughout this epic journey. All praise for her assembled team of creative voyagers responsible for the world on this stage. Frederica Nascimento designs a magical canvas in which the actors play. Likewise, the garments worn by these actors, compliments of Jenny Foldenauer assisted by Dayna L. Lucas, utilize a variety of fabrics and hues which accentuate the carefully-shaped illusory universe as do the puppets of Dillon Nelson. In addition, Ken Booth‘s lighting integrates all the design features together into a unified impression.

Deserved shout outs to these vital behind-the-scenes creatives as well. Robert Oriol‘s original music and sound design highlights the epic nature of the adventure while adding an aural asterisk to each and every complication along the way. Certainly Shannon Hutchins’ splendid wig and make-up designs deserve positive recognition as well. The music direction of Dr. Melissa Sky-Eagle impresses as does the fight choreography of Kenneth R. Merckx, Jr. and the movement direction of Stephanie Shroyer. A lot of experts here sharing their notable expertise.

This critic always admires the offstage, gargantuan (speaking of giants!) work of stage managers who “manage” all of these actors with differing personalities, keeping them on track to fulfill the vision of the director with such precision. Thanks to Samantha Sintef, assisted by Jacob Houser, together with their capable crew.

Yes, the enterprise may have begun with the historical writings “Gaius Valerius Flaccus” and “Apollonius Rhodius” and the genius of the blueprint supplied by Mary Zimmerman, yet what happens on this stage occurs only because of the supreme talent of Julia Rodriguez-Elliott who  melds the disparate creative and technical elements as well as elicits a host of stellar performances from her cast. The stars above could only be shining a bit brighter in awe of this accomplishment.

Theatre Curtain Calling… Reviewing the Situation

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