Strong ‘Andromeda’ Emerges in Kate Mueth's Vision
In an early workshop of a limited-run summer production, Kate Mueth offered a peek at “Andromeda,” her latest project with the Neo-Political Cowgirls.
The workshop, held on March 22 at Guild Hall as part of the John Drew Theater Lab, featured a full cast, some rudimentary costumes, and prototype puppets. The performance began outside the building and meandered into the theater, down the aisles, and up onto the stage. Throughout the production, characters continued to
roam, sashay, gallop, or dance through the aisles, making it as interactive as a three-ring circus.
The Andromeda of classical myth may be unrecognizable to traditionalists. In Ms. Mueth’s vision, she is a young woman struggling to find her identity as a refugee in a town that would rather classify who she is, and what her caste in their society is for her.
Her mother, Cassiopeia, wants the best for her daughter, and does her best to provide for her, even when it involves unseemly but expedient means. She tells her daughter that she is powerful and beautiful, a warrior princess who will some day command thousands. Her words inspire Andromeda’s strength, but get her into trouble. They also give her the faith in herself to outsmart a sea monster and fall in love.
Perseus, who is the hero in the myth, arrives too late and a dollar short in Ms. Mueth’s version. J. Stephen Brantley, who has performed in other Neo-Political Cowgirls productions, said in a discussion after the performance that he knew this Andromeda would not need rescuing. Instead, Perseus is a preening, rather full of himself, showman, just worthy enough of Andromeda to be her equal, but not hero enough to save her.
Much of the performance is dance, but there is a great deal of text and recited dialogue. LaWanda Hopkins, who played Andromeda, and Nehassaiu deGannes, who played Cassiopeia, were up to the task of emoting both physically and vocally, carrying much of the play.
Josh Gladstone played Proteus, a figure from Greek mythology famous for assuming many forms. In this work, he appeared as a bird, a misshapen man, and a few other guises. He also served as a narrator or chorus for the story. Mr. Brantley, Susan Stout, and Thea Rebien played multiple roles, and all were versatile in their parts. The sea nymphs, all South Fork elementary students, took on their characters with enthusiasm and grace.
The puppets of crazy townspeople, designed by Liz Joyce, and a sea monster, designed by Eileen Gladstone, were rudimentary but evocative, adding both menace and spark to the production.
This was a raw work, one that was not only at the rehearsal stage in performance but still in the editing room regarding text and choreography. It was what Ms. Mueth called “a blank canvas with a first pass of paint thrown upon it.” But its faint lines and splotches showed signs of great promise, and the production she plans to offer later this year in Montauk and Springs should be a delight of summer.