JASON AND THE ARGONAUTS To 8 August.

Lancaster.

JASON AND THE ARGONAUTS
by Kevin Dyer

Williamson Park To 8 August 2009.
Mon-Sat 7.15pm.
Runs 3hr 15min One interval.

TICKETS: 01524 598500.
www.dukes-lancaster.org
Review: Timothy Ramsden 4 July.

Classical quest journeys through varied scenery.
It’s that time of year again, when it seems it’s not plays that put people off the drama, but theatres. From swathes of the north audiences come, “once a year,” as a strolling spectator said, to the magnificent setting of Lancaster’s Williamson Park – a series of old quarries topped by the domed Ashton Memorial, providing varied settings as audiences move around.

Rightly the Dukes Playhouse, who relocate here in July and August, refer to these shows as “walkabout” rather than “promenade”. There’s nothing of the gentle stroll to the climbs, or the long queue for the narrow entrance to the tree-canopied Dell, which provides the only seating – once just logs, now proper benches - facing a natural stage with resources for monstrous emanations from the tree-covered, rocky-walled sides or from the secretive rear.

And there are magnificent prospects – a sudden view to the sea, the Ashton building looming above a vast staircase at the front, and providing a patterned courtyard to the rear. Or the Lake where this year, as so often, events begin, and Jason’s story, as told here, ends.

Take away the walkabouts and a thirty minute interval and what’s left is an average-length play. But how to pitch it? Voices are miked and some of the scenic effects – Jason carries a woman across the lake – mean distances are involved, as well as the varied open-air acoustics. This affects dialogue and characterisation.

Writer Kevin Dyer makes plenty of concessions to being audience-friendly, having fun with Greek names and word-endings, or puns that fall between Carry On and Monty Python. Amid a script concentrating on action and big emotions, Jason’s excess in having a fleeing harpy killed is little developed while the god-inspired change from hate to love in Medea, with her Russell Brand-like terminology, is stated but unexplored.

Lisa Howard gives Medea a mature understanding and her near-desertion could be the start of a new drama. Until Dyer’s script gives way to a softened reconciliation suitable for fading sun and floating flames. In all, with its energetic performances, Joe Sumsion’s production provides a well-devised if soft-centred night out.

Pelias/Phineus/Poseidon/Aeetes/Skeleton: David Acton.
Petracles/Jason’s Mother: Kate Crossley.
Siren/Harpy/Medea/Puppeteer: Lisa Howard.
Jason: Cjris Jack.
Guard 1/Testicles/Zeus/Bull: Craig Rogan.
Hera/Hag/Harpy/Skeleton: Kirsten Shaw.
HeraclesGuard 2: Boel White.
Sirens: Gemma Christie, Alexandra Lowe, Polly Shepherd, Melanie Haines, Maria Piacentini, Nicola Woods, Hayley Matthews, Cathy Hornby, Bryony Cousins.

Director: Joe Sumsion.
Designer: Alison Heffernan.
Lighting/Sound: Brent Lees.
Composer: Mark Melville.
Fight director: Kate Waters.

2009-07-06 01:03:36