JASON AND THE ARGONAUTS. To 17 January.

London

JASON AND THE ARGONAUTS
by Carl Heap and Tom Morris

bac Main Theatre To 17 January 2004
Tue-Sat 7.30pm Sun 5.30pm Mat Sat 3.30pm ,i>no performances 1 January
Runs 2hr 40min One interval

TICKETS: 020 7223 2223
www.bac.orrg.uk
Review: Timothy Ramsden 28 December

Fantastic in every sense: wonderful theatre magic and storytelling.It's a sign of artistic maturity down in Battersea that, alternative though it provides, this is neither parody nor self-proclaiming experiment shouting its difference and sophistication.

It is different - and sophisticated, more so for its apparently simple approach to Greek mythology. Like last year's Ben Hur it begins in the relaxed world of English customs here, a village fair. When an impromptu replacement Morris dancer gets hit on the head he's somehow transported to the ancient world and becomes - impromptu again - Jason.

The two worlds, near and distant, mingle for a time. Jason meets old ship-designer Argos whiling away time with his pint outside what might be an English pub, complete with photo of Elizabeth II albeit The Golden Fleece'.

His mission to save the land by returning the missing fleece gives strange adventures a dream-like logic. Simultaneously, theatrical reality takes over as a collection of wood from the fair becomes the good ship Argo. We join in a sea-song, a child from the audience is handed an old Ordnance Survey map of Southend-on-Sea and invited temporarily on board as ancient Greece's most famous mapmaker. It's a fantastic amalgam, made logical by the low-key realistic playing.

It's equally logical that the Fete's gentry become Greek divinities, occupying Olympus on the wood-fronted balcony of Battersea's Victorian Town Hall, now the arts centre. When Hera jerks to the ground on a winch, her awkwardly flapping arms somehow belong both to an actor pointing out the limits of the theatrical mechanism and an ancient divinity showing life for a goddess isn't all plain sailing either.

Control of audience mood and sense of reality is amazing for, later, when a couple of flying Argonauts battle with dangerous Harpies over our heads, the aerial skills co-exist with the narrative excitement and character sympathies generated by the story.

The loss of companions, the arbitrariness of fate and power (there's an unusual view of Medea here, young girl lost in love rather than vengeful sorceress) are presented with fine-edged playing between the falseness of over-emphasis and the impassivity of underplaying. A magnificent company achievement.

Jason: Tom Espiner
Argos: Roy Weskin
Hercules: Phil Marshall
Calais: Gemma Brockis
Zetes: Richard Simons
Atlanta: Laura Stevely
Castor: Hannah Ringham
Pollux: Anthony Shuster
Euphemos: Laura-Kate Frances
Orpheus: Jason Barnett
Lyncaeus: Matt Costain
Tiphys: Brian Lonsdale
Mopsos: Gergo Danka
Boutes: Ian Summers
Acastus: Richard Simons

Director: Carl Heap
Designer: Mervyn Millar
Lighting: Hansjorg Schmidt
Composer/Musical Director: Jon Boden
Choreographer: Laurel Swift
Costume: Mila Sanders
Aerial Design/Rigging: Joe White

2004-01-02 00:26:28