This is an attempted synthesis/ conglomeration of various ideas from round one of proposed storyboards. I have also included other ideas brought up at yesterday's meeting and the stranger ones from my own head.
The audience arrives at the park to look at a set of giant maps which document the central path branching into 5 or so that lead to different 'islands'. The audience, in small groups of under 20, gets to decide, group by group, which island they'd like to go to. Each island has its own lantern-lit path (scarlet lanterns?) and the groups are distracted by sirens carrying blue skull lanterns, who are children,singing an eerie version of row row row your boat, or other sea-faring nursery songs. Audience arrives at islands, which each illustrate some version of the early fleece story. The actors and puppets and music at each island could be themed to correspond to one of the islands on the Argo's journey. Cyclopes, murderous women, sirens, etc. At the island, some members of of each group are given a shred of fleece which they are told will protect them. Audience groups leaving islands are assaulted by harpies, who demand fleece, are hungry for it. Before entering the seating area for the main stage, groups must surrender their fleece to a cloaked figure. The figure's identity is ambiguous...Hecatate, Jason, Death? Audience must pass through an arch hung with long strips of red fabric, must pass into the unknown.
As people arrive to the seating area, the stage is set like a ship, rigging, mast, etc. Creaking noises come from speakers. Actors with oars emerge when audience arrives and show how to row, simple rowing songs.
Scene 1 begins when actors run down aisles with long pieces of bluish 'water' fabric and agitate it there, as the rowing takes off. 'Dancers' with rows and water are wearing some sort of black outfit with long linear muscles drawn on with white fabric paint. Maybe a black light can come on, some smoke. The journey begins and the dragon emerges from the tree, the fleece comes alive from previous, dead state. Ram wishes to leave, is sick of being hungered after, lusted at, and having no freedom of its own. What's the point of being desired if you're impossible to reach? Dynamic here, a strained relationship between dragon and ram. Dragon rages against ungrateful ram. Ram hatches a plot, lures dragon to sleep, somehow, and hides. Thus Jason sneaks in with Medea to steal teeth. Dragon is powerless for a time, without teeth, asleep. Jason and Medea steal away without fleece, didn't see it, and go to sow the seeds.
2. Medea summons and tames firey bulls and they begin to sow the seeds. The teeth leave arcs behind them as they fall, maybe streamers or something. Jason and Medea run after the bulls, at some point they lose control. Does the Ram set bulls to mutiny? Bulls' skull hooves shoot up torrents of earth and blood (water balloons?) and the fire performers do their awesome thing. Horned fireblowers emerge from behind bulls and 'scare' audience, menace Jason and Medea off stage. From the earth, the bones grow into harpies, starving women and men as dead soldiers, who hunger for the fleece as well. After all , they are born from the teeth of the dragon. Harpies scream with hunger and function as chorus to get us to next scene. Ram watches calmly from the shadows, is testing Jason and Medea. Dragon is still asleep on the sidelines.
3. With the sowing gone awry, Jason and Medea flee in the Argo and Medea and Jason butcher crewmates, audience plants with fake limbs?, and toss the pieces onto the fabric down the aisles to distract harpies from their escape. The body parts glow eerily in blacklights, are bounced around by dancers, who have returned to their fabric. The harpies are ghosts, starving half-creatures, they need more flesh to become real.
4.Harpies in flight are chasing the boat, and sirens, who are dead children, possibly, claim the body parts from under the harpies beaks. The children rush to collect them and put the body parts (which are similar or same as dragon's teeth, maybe really elongated femurs and ulnas and skulls, etc) back into dragon's mouth. Harpies, enraged at their loss, wheel off into the audience and offstage. Dragon awakes, enraged, and goes over to tree, to where Ram waits, and demands an explanation. Ram wants its freedom and Dragon decides it no longer wants to 'keep' Ram, treacherous thing that it is. Dragon renounces this world and decides to go back into tree, leave Ram to life alone. Political dialogue. Ungendered romance and renounciation, possibilities are endless. The sirens usher in the next scene.
5. Dragon has gone back into the tree, but Ram is alive, waiting, wavering between fleece and ram, between beauty and freedom. Jason and Medea sneak in and take Ram, but it cannot leave. Janaki's scene, basically. Hecate comes forward and says that the Ram cannot go home, cannot leave this life without leaving something behind, without sacrifice. Ram sacrifices self and opens the doorway, the rock/ bleeding heart become an arch hung with red fabric strips that Jason and Medea walk into. Then, ghostly figures emerge from arch, sliding between fabric, and invoke the audience to call names and sing final song. The 'veil' between the worlds here is literally represented as a veil of blood. The show could end with a trip to the river.
Some points: This is a pretty specific plan, I know, but it could be really flexible. The aesthetic stuff is obviously only what I'd like to see, but the tone and aesthetic is incredibly variable, depending on the artists involved. Political vote for Zeus stuff, banter between ram and dragon could go a lot of places!