Argonautika

According to the program, University of Missouri's theater production of "Argonautika"by Mary Zimmerman took place "long ago and far away, in the myths of mist and memory." Directed by Cheryl Black, the adaptation of the Voyage of Jason and the Argonauts boasted a 20 person cast, which is impressive considering this all took place in the Corner Playhouse, which only seats about 125 people. With chants and raps and tattoos galore, this is not the same Jason and the Argonauts that you've heard before.

For the lighting design of the play, designer R. Dean Packard began the play in very cool blues. While a lot of us theorized as to what it could symbolize, my personal theory is it stood for the sky, as in what the argonauts would see on a day to day basis on the ship. The set was, for the most part, very well-lit and bright. The only dark points (that I really noticed) were the sea storm and when Medea is contemplating suicide. And an interesting light design choice is the representation of hell. When Medea is thinking about drinking a potion, a square beam of light appears behind her, letting the audience believe that the door to hell is opening for her. Other details like that were a very nice touch in creating a layer on the "Argonautika" set.

As for the set itself, scenic designer R. Dean Packard's set was expansive, especially considering the small space he had to work with. What the audience saw was the back of the ship, with a mast in center stage, complete with stage stairs and a door leading to the "cabins." And when the story took place off the ship (like in a throne room or a beach), it was completely believable, as the actors moved in the space in a way that let the audiences imagination take hold. One set feature I particularly like was the trap door. Towards the beginning of the play, when the trapdoor was open, it became a stream for the ill-fated Hylas to drink from, before he's pulled to the depths below. Later on, it became a fireplace for Pelias to warm himself by.

The costumes were, again, my favorite part. Costume designer Rachel Schmidt's designs were beautiful. My personal favorites were the goddesses' dresses. Hera and Athena's, in particular, were beautiful. Hera's had a nice touch to it, as the dark green dress, to me, stood for her jealousy. Hera is known for being jealous, especially of her husband's lovers, and to have it contrast nicely with the bright gold of her crown and belt was a good touch. Athena's battle gear was most inspiring, especially her owl tattoo that showed on her thigh (since Athena's familiar is an owl). I really loved that each cast member had a specific tattoo that showcased something about their character (i.e. Athena's owl, Pollux and Castor's swan tattoos).

Argonautika Sets Sail at the University of Missouri

Lighting designer R. Dean Packard created a layer to the "Argonautika" set that created a bright, colorful world. From the clear, blue of the sky over an ocean, to the deep red of the gates of Hell, the lighting added a dimension to the set that would have suffered without it. The main theme of the lighting color scheme seemed to be blue, which is appropriate considering 2/3rds of this play is on the famed Argo. But in each scene, a hint of blue is almost always added, like when Hylas is fetching water from the stream (read: trapdoor), blue light pours from the opening, creating a reflection on the doomed Hylas' face. All this and more contributes to one of the most brightly, colored plays Mizzou has featured this Spring semester.