This modern adaptation of Euripides’ Greek
tragedy was a spine-chilling, maddening piece of epic theatre. With direction
by Carrie Cracknell and design by Tom Scutt, the cast and creative have made a
play that I will be sad to see go when so many more people need to be exposed
to it.
‘Medea is a wife and a
mother. For the sake of her husband, Jason, she’s left her home and borne two
sons in exile. But when he abandons his family for a new life, Medea faces
banishment and separation from her children. Cornered, she begs for one day’s
grace. It’s time enough. She exacts an appalling revenge and destroys
everything she holds dear.’ This is really is a story of mindless rage and
revenge, tearing from the traditional aspects of Greek theatre and pulling in a
whole new way to tell this distressing story.
Helen
McCrory delves deep into the wickedness and sorrow of Medea, catching and
transforming each emotion into something so destructive but simultaneously
engrossing. The chorus of women show her conscience and corruption through
stylised and surreal movements similar to Medea’s, adding to the darkness of
the choral interludes, while also portraying an opinion and some understanding
of her actions. The children are of key importance from the beginning, starting
on stage, leaving the audience to grow attached to them. Their nurse, Michaela
Coel, leads us through this passionate story of revenge and leaves us with
‘first silence, then darkness’ thinking about the production we have had the
honour of watching.
The
atmospheric music adds to the darkness of the show with eerie chants and sounds
echoing round the theatre, enhancing the action and sending chills down your
spine. The set with the wedding upstairs, the home downstairs and the
destructive woods behind curtains at the back of the stage helped the story
along, graciously transporting the audience and characters into Medea’s world.
With bright lights casting shadows in moments of Medea’s cruel, isolating
psychological ideas and the lighting echoing the twists and turns of Medea’s
journey, the creative team, including costume design, have done an incredible
job which makes the show stand out even more.
I
can’t think of anything worse than the resultant actions that Medea’s
psychological journey cursed on her. The screams, the words of misery, the
visually enchanting designs and the absorbing performances; I couldn’t keep my eyes off
this magnificent creation.
Ends
3rd September 2014. SOLD OUT.
National Theatre Live Screenings on 4th
September and 10th September.
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