This Trailer of Medea Everywoman  (click HERE to view) is based on three complete play readings and also includes comments by people who read the script. It is intended to convey a sense of the vision and scope of the play which is carried by an original and highly relevant view to today’s world, unlike any other rendition of Medea. 
A video of an additional earlier performance of The Dragon Scene can be found at It shows one of the discoveries Medea makes in the re-telling of her story. and the re-visioning and significance of an element of the myth that has been ignored in other versions of Medea’s tale, her intimate relationship with the dragon who guards the Golden Fleece.

Medea Everywoman is a project of the Shakti Moon Foundation, a 501(c)(3) not-for-profit foundation. Your contributions are tax-deductible.

Why Direct Funding rather than Outside Fundraising Services 
To donate directly to Shakti Moon Foundation maximizes your contribution; no fee is taken by a middle-man organization, no all-or-nothing conditions are imposed. Specifically:
  • Gofundme charges 7.9%
  • Kickstarter is an all-or-nothing proposition and charges between 8 and 10%
  • Indiegogo allows maximal 60 days for a project and collects 7% if goal is met, otherwise 12%.
  • Donating directly to Shakti Moon Foundation, your money goes a lot further. 
    We take nothing off the top. 
Our goal is a realistic starting capital of $10,000. If this produces a surplus, that will go directly into the next production. Also, Shakti Moon Foundation being  a 501(c)(3), there is direct accountability to the donors (our books have to be open to the federally required 990 filings). But beyond the legal requirements, of course, we also want you to know what is created through your support. As our donors, no matter the size of your donation, we will keep you informed as our process moves along. 
A Little History
The seed piece for Medea Everywoman was originally conceived in 1989 for a project called “Voices from the Cauldron”. Then, in 1995 Vajra Ma fleshed it out into full length play and performed it as a one-woman show. In 2016, it was re-written with an added chorus.

The Archetypal Theatre was revived in late 2016 from its late 1980’s  conception. More about it and its co-founders and their bios/qualifications can be found at http:///   You  can also email for more information to

Production and Co-Production Considerations 
We are considering the option of mounting the production as a non-Equity show in southern Oregon or with a co-producing theatre in another location. 
Our production design, which includes the music, lighting, visual concepts and style is adaptable to a variety of staging options, from the classical black box to an open, ‘surround’ warehouse situation. 
Though non-Equity, as an ethic and as an incentive we will try, to the extent possible to provide our actors and participants an appropriate stipend. This, too, requires funds. 
If the vision and the excitement about a play – any work of art – persist not only for the playwright and participating artists and actors, but also for audiences and readers, it promises relevance and a lasting contribution to the theatre. This is in keeping with our vision: The Archetypal Theatre comes from where theatre comes from: To engulf the audience in the larger experience. To convey myths and stories which seem closer to life than our daily experience. 
Your ground-floor investment in the staged production of Medea Everywoman will not only make a great play happen, it will also get you a option to proportionally participate in future financed productions. This is no obligation but an option. 



The collective dreaming of three present-day women despairing for the world conjures up Medea, inextricably ensnared in political and personal betrayal, revenge, and the murder of her children. For both, the women’s troubled dreams and Medea herself, resolution can only come when Medea re-
lives her story and unburies the deepest motive of her deed. -- a motive more relevant today than ever.
P A S T   R E A D I N G S
Monday, February 27, 2017 6:30 pm 
courtesy of Atelier Playwrights Group

at the Gresham Room of the
410 Siskiyou Blvd, Ashland (Corner of Gresham)

Saturday, March 25, 2017,    1:30 pm
at the 
555 Medford Center; Medford OR 97504, USA
(Tinseltown Mall, across from Cold Stone Creamery) Suggested Donation: $ 7-10 
(no advance tickets)
Saturday March 25, 2017,   7:30 pm
at the 
  Unitarian Universalist's 
  building,  129 NW E St, 
  Grants Pass, OR 97526, USA
  Suggested Donation: $ 7-10
  (no advance tickets)
back to Archetypal Theatre Home

A Story of Discovery and Redemption
(from the director's notes)

What I think is relevant about Vajra Ma’s two-act play MEDEA Everywoman, a story of discovery and redemption.
First, there are the two, and later three women who discover each other in their respective dreams – or nightmares. Then they discover that their dreams are more like tangible reality. Then they discover that the experience of all three is related to a name: Medea. And that this connection is mutual. In other words, their shared dream is tugging on someone from a far away time and place.

Next, they discover things about that person and that person, Medea, discovers who is disturbing her sleep of forgetfulness and why: They need her and she needs them, each for their own redemption.
But Medea resists. In view of today’s glut of people who are hustling a system to resolve – for a price - all the world’s problems, from relationships to global warming, that is actually quite refreshing. Medea balks. Which reminds us that Jesus didn’t want to show up for his gig either, and he knew why.

So when Medea finally shows up for hers, i.e. to tell her story, everyone is on a discovery expedition. Because while she tells and re-experiences her story, a story she herself knows well, the three women, the audience, and Medea herself finally discover “the deepest motive of her deed”.

This deepest motive, we discover, is related to her being a woman, a mother, everywoman, in an age when – then as now – all life is subject to commodification, to abuse, to greedy, ruthless rape. But we –and Medea—do not discover just what that deepest motive is, until the end of the play.

Finally, considering that this play was first conceived in the late 1980’s, it is extremely prophetic and it must have been for the playwright Vajra Ma an ongoing process of discovery and revelation of increasing relevance.