The Golden Fleece Based on Homer’S the Golden Fleece Jason and the Golden Fleece

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Family Plays The Golden Fleece Based on Homer’s The Golden Fleece Jason and the Golden Fleece.

Adventure. By Alan Cullen. With music by Jeremy Bar- • Cullen / Barlow • Family Plays low. Based on Homer’s Jason and the Golden Fleece. Cast: 10m., 5w. This ballad-style play from England is based on of the legendary tale of Jason and the Golden Fleece. The sea runs high, and though their families are hungry, for days the fish- ermen have been unable to launch their boats. Father Poseidon is The angry. To appease him, the fisher folk decide to sing and play for him something big, an epic about a big man, like Jason. Begin- ning with song, they don homely costume touches and, picking up a few handy props, they improvise the king’s court at Iolchos. From there, caught up in the vast sweep of Jason’s adventures, they Golden quite forget the high seas as they pursue this enthralling tale. Bare stage, which lends itself to various settings. Ancient Greek costumes. Approximate running time: 85 minutes. Music in book. Code: G97. Fleece

Cover design by Jeanette Alig-Sergel. Adventure by Alan Cullen. With music by Jeremy Barlow.

ISBN-10: 0-87602-130-5 ISBN-13: 978-0-87602-130-9

311 Washington St., Woodstock, IL 60098-3308 Phone: (800) 448-7469 / (815) 338-7170 Fax: (800) 334-5302 / (815) 338-8981 www.FamilyPlays.com The Golden Fleece

Golden Fleece Cover.indd 1 4/4/2013 3:01:25 PM The Golden Fleece Based on Homer’s The Golden Fleece Jason and the Golden Fleece.

Cover design by Jeanette Alig-Sergel. Adventure by Alan Cullen. With music by Jeremy Barlow.

ISBN-10: 0-87602-130-5 ISBN-13: 978-0-87602-130-9

311 Washington St., Woodstock, IL 60098-3308 Phone: (800) 448-7469 / (815) 338-7170 Fax: (800) 334-5302 / (815) 338-8981 www.FamilyPlays.com The Golden Fleece

Golden Fleece Cover.indd 1 4/4/2013 3:01:25 PM The Golden Fleece

A play for young people

by ALAN CULLEN

With music by JEREMY BARLOW

Family Plays 311 Washington St., Woodstock, IL 60098

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ISBN: 978-0-87602-130-9

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The early Greeks are said to have organized expeditions to the Black Sea in search of gold, dredged from the river bed by means of sheep skins laid in the current. The pelts, thick with gold dust, became a valuable trading commodity and Colchis is seen as the El Dorado, or perhaps the Klondike, of the Achaeans. Later generations, choosing to ignore the mercenary motives implicit in the tradition, have transformed what was probably bare-faced pi- racy (or at the best, exploitation) into a saga of heroic adventure.

This is the way of myths. Behind the legend of Theseus and the Minotaur is probably the reality of the fall of Crete as a mari- time power; behind that of the siege of Troy is probably the strug- gle for the trading route through the Hellespont. But happily for our culture, these events took place before the invention of writing and the advent of factual historians. The rich inventions of a great oral tradition have seen to it that these stories have finished up as poetic expressions of the beliefs, fears, dreams and aspirations of an extraordinary people. Many of the incidents contained, if we are to believe the psychologists, archetypal images of universal significance. To transform one of these great myths, then, into a theatrical entertainment, is no small undertaking. There is the danger of minimizing it, of distorting it, of viewing it too much through our own eyes, and applying our own values to it. One can only hope that in this attempt to present it on the stage, something of the richness and something of the vitality of the original legend of “The Golden Fleece” have managed to elbow their way through to you tonight.

Whoever the Argonauts were, the driving force behind their exploits cannot have been so very different from that which ani- mates the cosmonauts. The golden fleece or a handful of moon- dust—the goal is merely an excuse for the business of getting there.

—Alan Cullen

The Sheffield Repertory Company Limited (In association with the Arts Council of Great Britain) Presents

The Golden Fleece by Alan Cullen

Directed by Frank Hatherly Settings designed by Edward Furby Costumes designed by Elaine Garrard Costumes created in the theatre wardrobe by Madge D’Alroy Music by Jeremy Barlow A group of Greek fisherfolk entertain Poseidon, God of the Sea, with the tale of Jason and the Argonauts. Jason...... John Pickles Orpheus...... Brian Robinson Heracles/King AËTES...... David Bradley Hylas/Prince Absyrtus...... Neil Boorman Castor...... Michael St. John Polydeuces...... James Fagan Phalerus/King Amycus...... David Howey Argus/King Pelias/King Phineus...... James Tomlinson Nauplius/Bull-man...... Mick Rodger Typhys/Bull-man...... Terence King Bebrycan Soldier/Guard...... Jeffrey Rawle Medea...... Christine Welch Hypsipyle/Harpy...... Gabrielle Lloyd Polyxo/Dragon’s Attendant...... Dione Ewin Mopsa/Harpy...... Helen Brammer Woman of Lemnos/Slave Girl...... Barbara Kukso Soldiers, Suppliants, The Serpent, Women of Lemnos, Peasants, etc.

The setting is the sea front of a Greek fishing village, not very long ago. During the play Jason and the Argonauts visit Iolchos, Lemnos, Bebrycos, Thrace and Colchis.

CHARACTERS A group of about fifteen fisher-folk, who play various parts as the drama develops:

In Iolchos: In Bebrycos: Singer (Orpheus) King Amycus King Pelias Bebrycans Jason Courtiers In Thrace: Argonauts Phineus Phalerus 2 Harpies Nauplius Tiphys In Colchis: Herakles Hylas Medea Castor King Aëtes Polydeuces Absyrtus Argus Slave Girl 2 Bull-Men In Lemnos: Dragon Attendant Hypsipyle 2 Guards Polyxo Mopsa Other Women

© Family7 Plays SCENES Bare stage, which lends itself to various settings, with simple props furnished by fisher-folk. The setting is the sea front of a Greek fishing village, not very long ago. During the play, Jason and the Argonauts put in at various ports:

ACT I: Iolchos Lernnos Bebrycos

ACT II: Thrace Colchis

ACT III: Colchis Iolchos

MUSIC Original music for The Golden Fleece was composed for the pre- miere production at Sheffield, England, by Jeremy Barlow. His music score is included in this playbook, and will be found at the conclusion of the text. The composer advises that the instru- mental indications in the score are only suggestions, and can be modified as necessary.

Song Titles Included: Jason, Oh Jason Argo! Argo! Row, Lads Dark Sea Wild Dance (Women of Lemnos) Cool is the Forest Greek Peasant Dance Hear Me, Poseidon

ACT I (Open stage. Any decor is rough, primitive. The cast drift in as the audience is assembling. There is no definite start. SINGER strums an occasional chord on a sort of zither. A man starts to mend a fishing-net. Women drift on and off with jars or wash- ing. Another man is working on a boat at the side. A few young men casually start a slow peasant dance to bouzouki-type music from somewhere. More join them. Later the cast will play several parts each in the play proper. The dance finishes, the youths drift apart, nothing to do. SINGER strums and hums.)

MAN 1. Sea’s still running. There’ll be no fishing today. OLDER MAN (mending net). Not today, no … not today. Tomor- row, maybe. MAN 2. The sea runs high, we don’t fish. The sea goes down, we fish. Some days it’s a big catch, most days it’s hardly worth casting the net. And some days we don’t come back. OLDER MAN. That’s how it’s always been. And as far as I can see that’s how it always will be.

(A woman comes down with a small basket).

WOMAN 1. No fish again, I suppose? OLDER MAN. No fish. WOMAN 1. So what do I tell a hungry child? OLDER MAN. That Father Poseidon is angry with us all? WOMAN 1. Poseidon is angry, and we go hungry. And what have you done about it? OLDER MAN. All we can do. We’ve prayed to him, done the ritual dance for him. Yesterday I sacrificed a white goat. Should be a bull, of course, but the tribe is too small—we can’t afford it. WOMAN 1. And the sea still runs.

WOMAN 2 (to SINGER). If you were Orpheus, now, you could charm those waves till they were like a meadow. SINGER. If I were Orpheus, I could charm the fish and have them leaping out of the sea into your inviting lap, couldn’t I? WOMAN 2. But you’re not.

(He shrugs).

WOMAN 1. He can’t be angry all this time. I think he’s just bored—stirring up the water because he’s nothing better to do, like a little boy with a stick. OLDER MAN. So what do you suggest? WOMAN 1. What I would do with any little boy—take his mind off it. OLDER MAN. Take his mind off it? WOMAN 1. Why not? You’ve tried everything else. Now entertain him. Sing for him. Play for him. If it does nothing else, it will keep this idle lot occupied. OLDER MAN. What do you suggest we play? WOMAN 2. Something big to keep him interested. Some epic about one of the big men, that we can all join in. OLDER MAN. Jason was a big man. SINGER. Yes, Jason. (Adlib.) WOMAN 2. Do you know it? SINGER. With a bit of help, I could manage it. Let me think … (Strums.) WOMAN 2. We’ll all help won’t we? (Adlib)

SINGER. JASON WAS A BIG MAN …

REST. JASON, OH JASON!

SINGER. Are you listening, Father Poseidon? This is for you! JASON WAS A STRONG MAN …

REST. JASON, OH JASON!

SINGER. LISTEN NOW TO THE SONG OF JASON, JASON AND THE GOLDEN FLEECE.

REST. JASON, OH JASON, JASON AND THE GOLDEN FLEECE.

SINGER. KING PELIAS SAT UPON A LOFTY THRONE IN IOLCHOS,

REST. OH IOLCHOS!

SINGER. HIS HEART WAS TROUBLED AND HIS HEART WAS MEAN IN IOLCHOS,

REST. OH, IOLCHOS!

SINGER. HE SAID TO HIMSELF WHAT SHALL I DO, WHEN THE MAN COMES BY WITH BUT ONE SHOE? TO IOLCHOS

REST. AH, IOLCHOS!

SINGER (declaiming, as the others prepare to act the scene). For the King was afraid, and his dark heart trembled. A prophecy had come to him out of Delphi, a prophecy foretelling his death, and warning him—Beware of the day when a stranger shall come to the high place of Iolchos, a man with but one shoe. Fear him and placate him, for that man is the doom of Pelias.

(PELIAS is by now suitably installed.)

SINGER (cont’d). And now the day had come. Down from the mountain came Jason, and his eye was stern and his step deter- mined, and he stood at last before the King.

(JASON comes through the rest of them and stands before PE- LIAS).

PELIAS. Who are you that you stride, half unshod and wholly unafraid, to the high seat of Iolchos? What is it that you want of me? JASON. My shoe I lost in a mountain stream, but I said to myself, King Pelias is rich, he will give me another shoe. Was I right, Pelias? PELIAS. And if I do, what then? Will you leave me in peace and continue on your journey? JASON. My journey ends here. I am Jason, son of Aeson, and Iolchos is mine by right of birth. PELIAS. Jason!

(A couple of girls near PELIAS shriek out, and a couple of boys with spears step forward to protect him. JASON draws his sword.)

JASON. Come down, Pelias the Usurper. Come down and fight for it.

(PELIAS stands up in alarm, then forces himself to smile.)

PELIAS. Stand back.

(The boys with spears relax. PELIAS comes down to JASON.)

PELIAS (cont’d). Put down your sword, Jason. You are welcome in Iolchos. (Puts his hand on JASON’s shoulder). This is my good cousin Jason, and our honored guest. Bring wine that we may drink his health, and new shoes that he may not go unshod in Iol- chos. Put away your sword, my boy, you have no need of it here.

(New shoes are put on JASON’s feet, and wine is brought and poured, as SINGER continues.)

SINGER. And the king received Jason with all the appearance of friendship, and spoke him fair, whilst in his heart dark thoughts were racing, to avert the doom and rid himself of this disturb- ing man.

PELIAS. Drink, Jason. May the Sea-god smile upon our friendship. (Pours a few drops in libation, and drinks.) JASON. Your mouth is full of smooth words, Pelias, but what of my rights in this land? PELIAS. Your rights will be fully recognized, of course. You need have no fear. JASON. You do not deny my claim? PELIAS. My dear boy, a throne is but a chair like any other, and rather more uncomfortable than most. It is yours whenever you wish. But there is time for that—all the time in the world. Eat, drink and rest after your journey. Tomorrow we will talk of these things. JASON. We will talk now. Why should you be so anxious to give up a throne? PELIAS. You called me a usurper, Jason. It was not very kind. JASON. It was the truth. Aeson, my father, was king here, now you are king. What have you done with my father Aeson? PELIAS. Aeson is safe. He fell sick and was like to die. What could I do? Order must be kept; the city must have a king. So I accepted the crown—it was no doing of mine. JASON. Where is he? PELIAS. He is well cared for—you will see him. Why are you in so much of a hurry, Jason? JASON. Because I don’t trust you. PELIAS. That is understandable. Perhaps you will believe me when I tell you I shall be only too glad to relinquish the crown. JASON. Why? PELIAS. You may not have noticed, but the land is under a blight. It is not a happy thing to be a king in Iolchos. The people blame the evil times, as they blame everything, on the king. JASON. Well, are they right? PELIAS. No, Jason, they are not right. I have consulted the Ora- cle, and the Oracle has revealed the cause. Iolchos will never prosper whilst the Golden Fleece remains in alien hands. JASON. The Golden Fleece? PELIAS. It belongs here in Iolchos where it first appeared, and not in faraway Colchis. If I was young and strong, as I am not

any more, I would take a few picked men and I would sail to Colchis, long and hard though the journey is, and I would bring back the Fleece to Iolchos. But that is a job for a man, a young man, Jason. A man like you, perhaps. JASON. Is it? PELIAS. I could hand over the crown to you here and now. But then what? What kind of life is it for a young man to sit in the Great Hall of this ailing city, hearing pleas, settling petty quar- rels over a few sick cattle or a rotting fence, with no hope of anything better? In ten years, fifteen years maybe, but not yet. JASON. Where is Colchis? PELIAS. Eastward, who knows how far? Through unknown seas and strange lands, where the people differ from those of Hel- las. It would be an exciting voyage, but it would be a hard and dangerous one. A man would need a sound ship and a fearless crew, and he might not come back. No, Jason, it’s too hard for any man—you would be safer in Iolchos … Duller, perhaps, but safer—and so much more comfortable. JASON. I’m not entirely a fool, Pelias. I read your thought. If I go to Colchis, I’m unlikely ever to come back, and you are safe for the rest of your life. PELIAS. My dear cousin, nothing was further from my— JASON. There’s no need to protest. And you need not be afraid— I shall go on this mad expedition, not from any persuading of yours, but because once having heard of it I shall not rest until I have done it. I’m the sort of idiot who can’t resist that sort of a challenge, you see. PELIAS. But truly, you mistake my— JASON. I don’t mistake anything. I know you, and men like you, who hold on to what they have, however miserable it makes them. You have a small soul, Pelias, if you’ve any soul at all. And if I do come back, be ready with your accounts—there will be a rough reckoning.

(He drinks, and throws the empty cup to PELIAS, then strides away. As the stage is rearranged for what follows, SINGER sings.)

SINGER. JASON WAS A BIG MAN

REST. JASON, OH JASON!

SINGER. JASON WAS A STRONG MAN

REST. JASON, OH JASON!

SINGER. LISTEN NOW HOW HE WENT A-HUNTING, HUNTING FOR THE GOLDEN FLEECE.

REST. JASON, OH JASON. JASON AND THE GOLDEN FLEECE.

SINGER. FOR JASON TRAVELED UP AND DOWN THE LAND OF HELLAS

REST. AH, HELLAS!

SINGER. TO FIND THE BOLDEST AND THE BRAVEST MAN OF HELLAS

REST. AH, HELLAS!

SINGER. AND HE SAID TO EACH MAN WILL YOU COME WITH ME FOR TO BRAVE THE DEVIL AND THE DEEP BLUE SEA FOR HELLAS

REST. AH, HELLAS!

SINGER. And when they heard of the great expedition, many brave men came forward from all the parts of Greece, some of them tired of peaceful living and the dullness of domesticity, some in the greedy hope of fame and plunder; but Jason took

only those who had a touch of divine madness in their eyes, the men who climb mountains because they are there, the men who swim broad waters just to see if they can, and the men who go to the ends of the earth to see how far it is. The men who do things just for the hell of it.

(ARGONAUTS appear from several sides, perhaps from the front of house also, converging on JASON in the acting area).

PHALERUS. Hey, Jason! Any use for a strong bow? NAUPLIUS. Hey, Jason! Do you want a navigator? TIPHYS. Hey, Jason! Need a good helmsman? HERAKLES (with HYLAS). Hey, Jason! Can you use a bruiser and a likely lad? CASTOR. Hey, Jason! Any room for us— POLYDEUCES. —the Terrible Twins?

(JASON receives them as they come on stage).

JASON. Who are you, as if I didn’t know? HERAKLES. Herakles of Tiryns; and this is Hylas. Where I go, he goes. JASON. With those biceps, I can hardly refuse—And you? TIPHYS. Tiphys of Boeotia, helmsman. JASON. I’ve heard of you—you’re hired—What’s your name? NAUPLIUS. Nauplius the Navigator, son of Poseidon. JASON. Well, I expect we’ll need a god on our side—you’re in. What about you? PHALERUS. Phalerus of Athens, the strongest bow in Attica. JASON. I suppose if Athens is not represented, we’ll never hear the last of it. You’re hired—And you two? CASTOR & POLYDEUCES. Castor and Polydeuces. JASON. Which is which? CASTOR & POLYDEUCES. He’s Castor, I’m Polydeuces. JASON. Come again? CASTOR & POLYDEUCES. He’s Polydeuces, I’m Castor. JASON. I don’t think you know, do you? CASTOR & POLYDEUCES. Oh yes, I’m—

JASON. Never mind—when you sort it out, let me know. Two for the price of one seems fair enough to me. Now all we need is a boat.

(ARGUS stands up in the boat).

ARGUS. You’ve got a boat. JASON. What? Who are you? ARGUS. Argus the Thespian. You can have the boat if I go with it. JASON. What boat? ARGUS. This boat. JASON. That? It’s only a skiff. ARGUS. What do you want, a state barge? Best boat in Hellas. I should know, I built it. (Slaps the side.) See that? Mount Pelion timber. (Slaps the prow.) See that? Oak from Dodona, the tree of Zeus—give it the direction, and you don’t need a navigator. Pallas Athene gave me that. And with me, you don’t need another look-out man; I never slept a wink in my life. JASON. I think you’ve talked me into it, Argus of Thespis— Friends, our ship! ARGONAUTS. The ship! JASON. What’s her name, Thespian? ARGUS. Same as me—the Argo. ARGONAUTS. Argo! (Sing as they maneuverer, or even build, the boat into position.) ARGO! ARGO! ALL ABOARD THE ARGO, BLOW HIGH, BLOW LOW, FOR FAME WE GO ABOARD THE GOOD SHIP ARGO.

OUR WOMEN WE HAVE LEFT BEHIND ARGO, ARGO, BUT THERE’LL BE OTHERS JUST AS KIND A-WAITING FOR THE ARGO.

ARGO! ARGO! …

OUR HOMES AGAIN WE MAY NOT SEE ARGO, ARGO, BUT THAT’S THE PRICE OF BREAKING FREE AND SAILING ON THE ARGO.

ARGO! ARGO! …

AND IF WE DON’T RETURN AGAIN ARGO, ARGO, OUR NAMES WILL LIVE AMONG THE MEN WHO JOINED THE GOOD SHIP ARGO.

ARGO! ARGO! …

SO FILL THE KRATER TO THE BRIM ARGO! ARGO, AND IN THE LEES REMEMBER HIM WHO PUT FORTH IN THE ARGO.

ARGO! ARGO! …

(The boat is now manned and ready to go).

JASON. Hey, you! SINGER. Me? JASON. Yes. What’s your name? SINGER. Orpheus. JASON. You’re pretty good. We’ll need a shanty-man, Orpheus. Want to join the crew? ORPHEUS. I thought you’d never ask! JASON. Shake a leg, then—we’re sailing.

(ORPHEUS scrambles aboard. Sea-noises and effects as they put out).

JASON (cont’d). Cast off there … trim the oars, lads—row! … Steady as she goes … Heave … heave … heave … TITHYS. Whither away, Captain? JASON. We’re setting course for Lemnos. TITHYS. Lemnos it is, Captain. JASON. Once out of the gulf, with a following wind and a smooth sea, we should be there in five days. CASTOR (rowing). Five days! Castor, did he say five days? POLYDEUCES. I’m Polydeuces—you’re Castor.—I think. CASTOR. I’ll never row for five days! POLYDEUCES. Me neither. Shall we get off?

CASTOR. It’s too late now. I can’t swim. POLYDEUCES. No, it’s me that can’t swim. CASTOR. Oh, is it? I knew one of us couldn’t—Castor. POLYDEUCES. Polydeuces. CASTOR. I don’t care. I think I’m going to be sick.

ORPHEUS (strikes up the time for the rowers). ROW, LADS, ROW, LADS, PULL AND PULL AGAIN, ROW, LADS, ROW, LADS, ALL FOR MARY JANE.

SHE’S THE GREATEST GIRL YOU EVER SAW, HEART AS BIG AS CERBERUS’S MAW.

ROW, LADS, …

IF YOU ASK ME WHO THE HELL IS SHE, THERE’S A MARY JANE ON EVERY QUAY.

ROW, LADS, …

SHE’LL BE WEARING LINEN FINE AND SHEER, SOFT SHE’LL WHISPER JACK, MY DARLING DEAR.

ARGUS. Breakers ahead, Captain. JASON. Where away? ARGUS. On the port bow. JASON. Steady as we go … Starboard a little … Hold it … Pull, lads, till we’re out of the gulf … Steady … ARGUS. Reef ahead! ’Ware the reef! JASON. Hard a starboard! Hard over! Pull! Pull! (A roar of surf and wind. The boat plunges.) Hold her there! Hold her steady! … Pull! (The boat lifts and dips. Thunder of breakers and howl of wind. They row like mad. The noise subsides, and the boat rides even.) All right, lads, rest your oars. We’re in the open sea … Hoist sail … Ship the oars … Well done, lads. Hylas, the wineskin.