Jason and the Argonauts
BAC, London

Sophie Carmichael

Oscar Wilde once said you should make a point of trying everything once – except incest and folk dancing. Until recently, I would have agreed with him. Morris dancing, for example, can get you into all sorts of sticky situations. But BAC's production of Jason and the Argonauts has converted me.

On entering the theatre, it is quite likely you'll suspect you've wandered into the wrong place; actors dressed in overalls and jodhpurs are frantically trying to find someone in the audience who can in fact Morris dance. The lights go down, and after a very entertaining if slightly confusing display involving bells and handkerchiefs, the audience is invited to join Jason and his Argonauts aboard the Argo, in their fantastically dangerous and exciting journey to capture the Golden Fleece.

The name of the game is imagination, and the use of minimal set, props and costume is brilliantly intuitive. The pub picnic table becomes the stern of the Argo, then a throne for King Pelius; combined with superb acting, the few scene changes that are necessary work brilliantly.

The ensemble playing of the cast of thirteen is exceptional. In particular, Zeus and Hera, directed as upper-middle class characters clad in (rather fetching) tennis gear, transform into the super-strength twins Castor and Pollux with, once again, minimal costume changes and wonderfully smooth alterations in characterisation. Playing at least three characters each, the actors seem to find no difficulty in helping the audience to differentiate between the roles.

As the play progresses and the Argonauts find themselves in increasing danger, each of the stop-offs they make allows for a new, original way of reintroducing the audience to a well-known part of the story. Acrobatics, high-flying trapeze artists and some irresistible audience participation provide brilliant entertainment, and help prove the Greek myths really are timeless.

This, combined with the witty, fast-moving script, with some brilliant jokes and innuendos that work on so many levels, make this production a must for kids for all ages. Be there with bells on …and in good singing voice.

Till 17 January 2004