Directed by Georgij Paro

in the Spring of 1995

Scenic Design by David Flaten
Lighting and Mask Design by Mark Pietrzak
Costume Design by Maria Wortham

Cast

Medea...............................................................Stacey A. Williams
Nurse.......................................................................Kelly A. Varner
Tutor.....................................................................S. Baker Eatmon
Creon.................................................................Eric J. Mulholland
Jason..........................................................................Scot McElvany
Aegeus.............................................................Tyrone Youngblood
Messenger....................................................................Erik Johnson
Children..............................................................................Levi Reed
..........................................................................................Natalia Reed
Attendants..............................................................Michael Martin
....................................................................................Steve Benjamin
Chorus..............................................................Chryseis Alexander
..............................................................................................Lori Baker
.......................................................................................Margo Fiorito
......................................................................................Darcee Golden
...............................................................................Ruthy Kountouris
.....................................................................................Nichole Mhoon
....................................................................................Jennifer Philips
........................................................................Wendy Rockenbaugh
.............................................................................Jennifer Rodriguez
.................................................................................Marilyn Zbacnik

Technical Credits

Technical Director.....................................................................Mark Pietrzak
Stage Manager..............................................................................Margo Fiorito
Assistant to the Technical Director...............................Alice Gasparian.
Light Board Operators..............................................................Kathy Tasker
................................................................................................................James D. Tittle
House Manager & Accountant........................................Shreen Ibrahim
Electric Crew................................................................................Scot McElvany
.............................................................................................................Stacey Williams
.....................................................................................................Chryseis Alexander
...................................................................................................................Murry Willet
..................................................................................................................Kathy Tasker
...........................................................................................................Eric Mulholland
.................................................................................................................Scott Mackay
Construction Crew............................................................................C.R. Pelser
.................................................................................................................Kathy Tasker
...........................................................................................................Joseph Martinez
......................................................................................................................Rick Robles
..........................................................................................................Nathan Hamilton
..............................................................................................................Nichole Mhoon
....................................................................................................Chryseis Alexander
.................................................................................................................Maisha Smith
........................................................................................................................Lou Parra
..............................................................................................................Bill Zernickow
.........................................................................................................Marilyn Zbacnik
.................................................................................................................David Haimes
.............................................................................................................Catrina Morris
......................................................................................................................Amy Street
............................................................................................................Shreen Ibrahim
..................................................................................................................Amy Stillions
...............................................................................................................Murray Willet

A Conversation with
the Director
by Monica Schwarze

WORLDS IN CONFLICT

Medea is a play about worlds in conflict. Medea's world of mythology, natural law and order is in conflict with her husband Jason's world, which is structured and organized by man.

Director Georgij Paro, explains that this production is timely because conflicts between the rational and the emotional exist today. "Even now this conflict always exists," he says. "You have some crimes nowadays where passion can be taken into account as some kind of possible explanation, and you always have the other side, which says it's all wrong because we have other laws that have been created.

Medea's sorcery will be a major aspect of this production. "There are a couple of moments of magic."

"I wanted to find stage effects that would show some of her magic powers," says Paro, noting that Medea will not hesitate to use her powers. Expounding on Medea's character and personality, Paro explains that "everyone was blaming her for being upset for her husband leaving her, but they're also finding excuses for her. ",

"Jason is the one who provoked her in the ugliest possible way. They both did wrong, but he was the one who provoked that wrong. She is guilty, but not necessarily evil. He is not guilty, but he might very well be evil. If you were to put this on a scale, they would both be equally guilty."

ON THE ROLE OF THE CHORUS . . .

Paro explains that, because times have changed, it is impossible to perform the play the way Euripides performed it. Still, he has incorporated devices that help to bridge the gap between an ancient play and a modern world.

"We live in different times but we have some knowledge about how the play was performed in Greek
times," says Paro. 'We know that the chorus was wearing masks, so we use masks in our performance. This is one of our connections to Greek classical theater."

The chorus represents the women of Corinth and acts as Medea's conscience throughout the play. Paro, describes the role of the chorus as "a way of providing common sense."

"Only when the chorus is agreeing do they remove their masks. The mask is a way of closing yourself off from some ody with whom you don't agree."

At times, however, the chorus does not entirely remove their masks, but peeks out from behind them.

"At the same time that they disagree, they are still interested in what is going on," says Paro. He likes the partial wearing of the masks to "staying in our houses when something which we are afraid of, or something which we don't like to be exposed to is happening in the streets. We'll open the curtains a little because we'll still be interested in what is going on."

Paro, believes that, by being interested while staying uninvolved, the chorus represents the usual pattern of behavior.

"We'll call 911 if nobody sees us," he says. "But we'll hardly open our door and go out in the street to help somebody who is being attacked. There is a certain fear of involvement in our society." Because the chorus represents this attitude, at the end of the play, when Medea commits her most heinous acts, the chorus moves into the audience.

"They leave their masks, they leave their costumes. They become dressed like you and me. They are the same people as the audience. Like the audience, they make their judgments. They spread their common sense and their disapproval for what she did. But, they do not take a stand."

Even with these connections to 20th century society, the chorus will still retain some aspects of Euripides' chorus. Like the choruses of ancient Greece, they will also sing, rather than simply recite their lines.

Another way Paro, will bridge this gap between ancient Greece and the 20th century is through costuming. The chorus and principles will be wearing Greek robes, but they will all wear at least one article of modern clothing. Paro has made this choice to illustrate that "we are playing Greeks, but they are Greeks as we see them now."

Original rendering of set by Dr. David Flaten 

Special Thanks To . . .

Bev Rupel & Merrit Beckett for Box Office
Susie Monte, "Unique Walking Stix for all Ages"
by Modesto
Karen Neely
Brian Worley for the Corrugated Tin
Cloyce Flaten for Her Arbor
Don Pollock and LVTV
Dr. Johnathan & Annette Reed for their Children
Charlie & Mira Vinski for all the Sticks

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