A note from the director...
I wanted to do a musical about Medea’s journey ever since I wrote Orpheus in 2018. I found that I really enjoyed her part in Argonautica and it was fun writing her character in my musical. Her relationship to Jason is one for the ages. Stabbed by Cupid’s arrow, Medea becomes a puppet for the gods. Her love becomes both a super power and a manipulation.
This is a coming-of-age story about facing the complexities of parents, discovering and using special talents, and finally, how one relates to the world thereafter. I took liberties with the original tale, especially the character of Medea’s brother, Absyrtus. I have two younger brothers, and I shaped him after them. The spirit of the story remains the same. How all the characters get there – that path has changed in several key places. I also pulled out the detail that Aeetes King had technically advanced Colchis beyond any city in the world at the time. Colchis was positioned on land next to the Black Sea that was rife with gold, gems, lumber, and much more. The Aeetes Screw in the show was a real tool at the time and was attributed to Archimedes, but he didn’t invent it. This screw revolutionized mining and allowed miners to dig below the water table. The famous Golden Fleece referred to in the production got its gold color from miners panning gold in streams. The wool caught gold flecks. The Fleece is symbolic of wealth and ambition. Sorcery has a long tradition throughout history. They were the scientists of their time. They studied how the natural world could be used to help humanity. What they could make and do must’ve surely come off as magical or gifts from the gods. The sound of the music is heavily influenced by modes. These are scales with certain tonal relationships that create a certain sound and feeling. The songs have a Middle Eastern or Greek sound to them.
I’m so happy that Caleb Tracy could choreograph this show. This is our first collaboration and his modern dance moves fit this story perfectly. Sorceress is meant to be for a small cast of actors of any gender. Evie Hawkins, in another first collaboration, really shaped the costumes to fit that sensibility.
Special thanks to Tadan Middleton for building the platforms and altar. Anthony Wiegand’s painting skill is on full display on our wonderful set. Joey Schulman stepped into the role of managing the production like a champ. This is our first time working together, and she tackles a multitude of jobs with skill and good humor. I’m thrilled to work with such an amazing cast of actors. They are brave and fearless and so much fun. Special thanks to our parents, Jen, Liz, our Board of Directors, and to my lovely and loving wife, Stacey-Kyle, for always supporting my creative habits. Enjoy the show!
John Rea
