Review Preview: Argonautika

I'll skip the tired and repetitive apologies for not posting more lately. I'll get it in gear when I can find the time.

In the meantime, a rare timely Review Preview of Argonautika at McCarter. Not quite the mindblower I was hoping for, but quite interesting and kind of fun to watch.

And what could be better than a visit to Princeton in the spring?

Please all keep my stepson, Cyle, in your thoughts. He left for Afghanistan last week and is now an Army lieutenant in charge of a reconnaissance team, flushing Taliban and other bad guys out of caves and such.

Hell of a way to make a living. Good news (I hope) is after two tours in Iraq, his wife has told him this is the last one.

Mother is with the young Mrs. on that one.

Anyway, on with the show. Talk to you soon, I hope.

If you want to go:
What: “Argonautika”
When: through April 6
Where: Centenary Matthews Theatre, McCarter Theatre Center at Princeton University, 91 University Place, Princeton
How much: $15 to $49
Info: (609) 258-2787; www.mccarter.org

By WILLIAM WESTHOVEN
Daily Record
“Don’t be so literal. You’ll miss a lot.”
That’s the advice from one God to another in “Argonautika,” the latest myth-inspired theatrical experience staged by Mary Zimmerman at McCarter Theatre.
Zimmerman clearly has an abstract eye, as she previously proved at Princeton with “The Secret in the Wings” and “The Odyssey.” The former blended a sampling of lesser-known Grimm fairy tales and the was latter based on Homer’s epic poem. She also won a Tony for her 2002 staging of “Metamorphoses,” based on another Greek poem by Ovid.
Artistic director Emily Mann praises Zimmerman’s ability to “tell a tale by transforming language into thrilling visual life.” “Argonautika,” which visualizes the mythology of Jason and the Argonauts, is certainly evidence of that ability. On a set that resembles a mostly bare wooden crate set on its side, Zimmerman turns “Argonautika” into a gift basket full of visual treats.
Her grasp of language and dialogue, however, is less consistent. She overreaches by tapping into two different interpretations of the tale, which causes some confusion, especially for those people who may not be familiar with the story in the first place.
Fans of Greek mythology know all about Jason, son of a deposed king who is tasked by his uncle and current king to retrieve the mythical Golden Fleece and thereby claim the thrown. Looking on from above, the goddess Hera knows this is a fool’s errand, designed to get Jason out of the king’s hair, and most likely send him to his death.
With Hera and Athena watching his back. Jason constructs a mighty ship, the Argo, assembles a mighty strike force (including Hercules) and sets sail into unknown waters. During their storied voyage, they encounter myriad peril, including vengeful gods, sea monsters, flying harpies, fire-snorting bulls and a liberal dose of sorcery.

In her director’s notes, Zimmerman acknowledges the most popular adaptation of the story, crafted by Apollonius of Rhodes, along with another by Gaius Valerius Flaccus. From them, and two different translations, she rescues the full story of Jason’s lover, Medea, which often has been removed from popular Hollywood adaptations.
Small wonder, since they cast the title hero in a bad light. Medea was a sorceress and virgin daughter of King Aietes of Colchis, keeper of the Fleece. Because Jason needs Medea’s help to accomplish his mission, Hera and Athena convince Aphrodite to get her son, Eros, to shoot Medea with an arrow that makes her fall in love with Jason.
But in this adaptation, once the mission is accomplished, Jason dumps Medea for a politically motivated marriage, setting off a final series of tragedy.
Zimmerman’s narrative is frequently dry and heavy handed, which occasionally anchors the Argo in muddy seas. It also weighs down the actors, who struggle to give their characters a clear sense of identity.
A few actors break through. Soren Oliver plays Hercules as an oafish brute full of bluster, while Atley Loughridge covers a gamut of emotion as Medea. Her giddy giggling early on makes her undeserved fate that much more tragic.
Others struggle, including Jake Suffian as the title character, who has trouble standing out in a crowd of uniformed Argonauts, and Sofia Jean Gomez as Athena, who is saddled with much of the narration.
No matter, because “Argonautika” is more for the eye than the ear, and Zimmerman does not disappoint her fans. Characters drop from the sky and disappear through the floor, while puppets and some stunning costumes bring supernatural characters to more life than some of the human ones. Black grills in the “box” allow for eerie lighting effects, while the entire cast choreographs a spectacular wind storm.
The actors also execute some tricky and physical gymnastics that will remind some of a ballet, and even sing a few entertaining songs.
Zimmerman also has a knack for comic relief, and an odd sense of comic timing that seems delightfully random, so you never know when it might pop up. Allen Gilmore, as the scheming King Pelais, has the most fun as the scheming, two faced King Pelias.
The director also injects brief bursts of profanity to remind you that you are in Princeton, not at a child’s show at the Growing Stage.

Signs of life

A quick check in to make sure you all know I did not go away. Sorry, but I've just been too busy to blog. So much to do at the Daily Record, where we have now started five new weeklies since last summer, including two in the last month. And I'm hip deep in that project. I enjoy it more than most, given my community newspaper background. We're not filling these with trailblazing, first-amendment, watchdog journalism, but rather positive news, including lots and lots of photos and reader-contributed content.

All very well received, and keeping the ship afloat, so to speak. But they are large monsters that must be fed, forcing me to work some weekends and nights in addition to the rest.
Also have been regularly producing auto columns for our new Real Morris magazine for the rich and famous (well,maybe not famous). I've test driven a Porsche Cayenne, a Mercedes I don't remember the number and a Lamborghini Gallardo.

But I hope you've been noticing that I'm still getting tot he theaters and cranking out the reviews. You just need to go to Dailyrecord.com to read them.

FYI, I'll leak word that I've won another first place NJ Press Award for critical writing, although not official until the awards ceremony in April. Guess I'll have to update the profile. If anyone cares, the submitted reviews were for Henry VI, Seven Brides and My Three Angels. I believe all three are posted here somewhere.

I'll get back to Review Previews, etc, soon, but just don't have the time right now. Also,I hear the Gannett NJ papers are going to do some sort of collective blog consolidation or reorg, and I'm still in the mix for that. Perhaps even they'll acknowledge blogging in the job description, which would force them to budget time from your week to do that.
I can dream, can't I?
In the meantime, back to the grind. Talk to you soon.