Review: Medea. Lace Market Theatre. Nottingham

"What have the Greeks ever done for us?" Well, how long have you got? Rather a lot actually. Four thousand years ago they were one of the most advanced civilisations of the Ancient World. They pretty much invented mathematics, sculpture, science, medicine and philosophy. Their theatre, including chorus and mask work created lasting and phenomenal stories and helped inform theatrical story-telling to this day. Their ancient history and mythologies are forever deeply encapsulated in our grander world view with names like Homer, Plato, Aristotle, Sophocles and Euripides retaining almost god-like historical status. Not bad for people who lived over 4000 years ago. Many of the stories we smugly think of as contemporary genius have their roots in Greek and Roman mythology and the controversial story of Medea, originally penned by Euripides, a tragedian of classical Athens, (c. 482 – 406 BC) continues to thrill our modern audiences. We even have a term, used in psychology, called The Medea Complex. It is described as ‘a mother’s need and requirement to murder or kill their child as a means of revenge against their father. Otherwise known as filicide.’

At The Lace Market Theatre Euripides’s Medea adapted by Ben Power (originally for The National Theatre in 2014) runs until Saturday 15th October. The cast includes Kathryn Edwards (Medea), David Field (Jason), David Hawley (Kreon), Jack Leo (Aegeus), Kimberley Wells (Nurse), Lydia Daniel (Jason’s Attendant) Elizabeth Gilder (Corinthian Chorus), Clare Moss (Corinthian Chorus), Fiona Tezzider (Corinthian Chorus) and Sarah Taylor (Corinthian Chorus).

This short and powerful play adaption of Medea is directed by Nik Hedges. Nik Hedges also designed the impressive set. Both Hedge’s terrifically tight direction and complex, highly symbolic, set prove that theatrical invention and standards at the Lace Market Theatre continue to be exceptionally high. The Greek god Dionysus would be rather chuffed with this production. Given that Dionysus’ Greek God CV included fertility, insanity, ritual madness, religious ecstasy, religion and theatre the story of Medea would be right up his οδός (street).

The central themes of the mythological story of Medea, which is a tragic follow on from her passionate love affair with Jason (of the Jason and The Argonauts fame and pursuer of the illusive Golden Fleece), are bloody revenge; passion in terms of passionate love turning to passionate hatred culminating in the death of her sons, and gender and power. Greek women had relatively little agency, and Medea’s refusal to accept Jason’s abandonment of her family to marry a much younger who is a higher status princess is an expression of female rage and power. Medea’s status is that of a foreigner and even though she is of royal blood it is that of an Asian kingdom and that doesn’t count with the Greeks. This play is a provocative and a nihilistically potent example of perverse and extreme actions and their outcomes. For those who have read the Argonautica – haven’t we all – we would be aware of Medea the sorceress’ crazed appetite for letting blood after killing her own brother to please her lover, the hedonistic Jason.

By Zeus, our Medea ain’t a gal to be messed with. And now Jason has left her to marry another woman after ‘slipping from her bed like a serpent’. No amount of jiggling the worry beads (kompoloi) or big-time smashing plates in a cheap backstreet Greek taverna is going to sort this mess out believe you me. Even The Oracle has gone on an all-inclusive Hellenic cruise to get outta Delphi when Medea explodes with all the fury of the Furies. I mustn’t joke about these things – the Gods will be displeased.

‘For Jason she betrayed her country and stole the fabled gold, For Jason she bewitched the daughters of old King Pelias, making them mad until they slit their royal father’s throat. For Jason she butchered her own small brother Apsyrtus, hacking his flesh to pieces and throwing him to the sea food for the sharks. She did all this for him.’ From Medea adapted by Ben Power.

This top-class decidedly five star production of Medea at the Lace Market Theatre is truly riveting stuff. It is played by the exemplary cast as naturally as possible given the highly dramatic curves and mood changes. Each and every part is seamless in its clarity and sublime co-ordination. It is a particular triumph of narrative, has moments of bleak and deathly poetry and uses physical theatre particularly where the four Corinthian chorus members are concerned, and their body movements echo those of Medea. All four of the chorus cast’s voices are pitched just right for understanding and dramatic purpose. It could all fail as a production if it became mannered and over blown. Thankfully Nik Hedges direction and the skills of the talented LMT cast ensure the story is all played out with impressive integrity. Mask work and affecting puppetry are used throughout to great effect. Hugh Philip’s sumptuous lighting design and Matt Allcock’s faultless sound and projection are glittering technical jewels that help lift this production out of the ordinary.

In the title role Kathryn Edwards gives us a contemporary and combative Medea, an uber intelligent blend of the mystical and the realistic. She is bristling and bruising, cunning, manipulative and premeditated to murder without insanity. Her revenge moments are super calculated and Edwards’ professional performance never lets up as her character’s chemical imbalances make her emotionally extreme. Medea’s sanity in the killing of her young sons to revenge Jason is harrowing but in a weird way you almost feel some sympathy towards her plight as a betrayed, disenfranchised woman in exile. Edward’s unnerving performance is a lesson in controlled awareness on the stage and could be one of the best female performances seen in a long time on the Lace Market Theatre stage.

The play oozes atmosphere and stormy menace and this production is graced with another fine actor, David Field (last seen as John Merrick in The Elephant Man). Initially Field gives us what seems to be a sympathetic Jason all full of caring about the fortunes of his young boys and their mother Medea now he about to marry into Corinthian royalty. "Betrayal? What betrayal? I’m doing it all for you darling." He will ensure they are taken care of and financially secure. His ‘good intentions’ are arrogantly oblivious that his actions in leaving Medea to marry another are callous in the extreme. Field is economic yet strong in his body posturing as Jason until Medea cruelly poisons his new bride and her father King Kreon. Then we see him crumble as a desperate and shattered man. It is an excellent and very believable performance in its subtlety.

David Hawley is confident and commanding as King Kreon and his portrayal appears to be based on an assertive self-knowledge and lacks any kind of OTT kingly bombast and thereby presents a richer and more truthful characterisation. Jack Leo’s King Aegeus of Athens is perhaps the most sympathetic and likable visiting character on the stage and his love for Medea is palpable even though you do wonder if she is being pretend nice to get a get out clause and political sanctuary.

Kimberly Wells (Nurse) and Lydia Daniel (Jason’s female attendant) both make Ben Power’s powerful script live on stage and their clear diction and character warmth make the play very accessible story telling. Medea is one of the better plays this reviewer has seen presented at the Lace Market Theatre and if you of a mindset that Greek Drama isn’t your kettle of steamed octopus then think again and invest in a couple of tickets for this show and I guarantee that your mind will be radically changed. It is bloody excellent.

Read the original article here.

"Medea" by Euripides in a version by Ben Power
Nottingham Lace Market Theatre

This play, and the research for this play, has been a real joy for me. As a child I can remember watching the film "Jason and the Argonauts" and loving the film and the wondrous story. "Medea" takes up the story from where the film ends and what I loved was that the preceding story was played out in puppetry form.

Medea is the Greek Goddess who, with her magical powers, helped Jason to steal the the Golden Fleece from her father, King Aeetes. She falls in love with Jason, marries him and bears him two children in exile, but he turns his back on her for another woman, and she is in danger of losing him and her children. The action all takes place on the day of the wedding to Jason's new love.

You'll have heard of the old adage about a woman being scorned, well Medea is scorned. You may also have heard the song "What A Difference A Day Makes", well a day is all Medea needs to unleash her wrath! She is told by Kreon, Jason's proposed Father-in-Law, and the King, that he is scared of her magic and what she may do to him and his family, so is banishing her.

She begs for 24 hours' grace to collect her belongings and to arrange things for herself and her two sons. But Medea has other plans which do not include what she has told Kreon.

Kathryn Edwards plays Medea. This is one hell of a performance. The passion, the anger, the flip flopping of emotions. The performance is everything that I love about Shakespeare's "Scottish play" but set in a Greek setting. Kathryn had my heart going throughout the play and her final decision to really hurt Jason sent my heart into my throat. Kathryn reached down my throat and wrenched at my heart with this performance. I can imagine that at the end of every show, she herself is drained, as that was how I felt just watching her. An incredible acting tour de force.

David Field plays Jason. I last saw David playing the title role in "The Elephant Man" at the Lace Market Theatre so I know what a brilliant physical actor he is. In Act Two he drenches the audience with emotion when he discovers what Medea has done and you can feel the pain, which starts with a gutteral shout for Medea. From then on, he lays bare his feelings in one of the most emotional scenes I've seen from a male actor in a very long time.

Kimberley Wells portrays Medea's Nurse, who also acts as narrator, bookending the play, setting the scene as well as finalising the story.

David Hawley plays Kreon, Jack Leo plays Aegeus, Lydia Daniel is the Attendant who also gets to deliver a heart-felt piece, Elizabeth Gilder, Clare Moss, Fiona Trezidder and Sarah Taylor are the Chorus. A nice mix of favourites and new members.

The two children are depicted by puppets, and you really believe in these children, which is due to the talents of the puppeteers. the interaction with the children and Medea is really touching.

Directed by Nik Hedges, who also designed the wonderful set. It's the first thing that you see when you walk into the auditorium and it transports you to a Grecian plaza. The marble, the plants and the white masonry and stones create just the right feeling for the play. Nik has brought out every ounce of drama from the characters, especially Jason and Medea.

The first act, which lasts an hour seemed to last a fraction of that due to the way you invest in this wonderful piece of theatre. Nik shies away from depicting the gore, leaving us to use our imagination, but instead shows the more macabre feel of Medea's actions.

The lighting design is by Hugh Philip, guiding us to every highlight in the story and then dimming to bring our emotions back down.

Sound design, as well as the projection used here is by Matthew Allcock, and this area was spectacular. The subtle soundscape was crystal clear; the bird song, the weather and the music choices were perfectly placed and executed.

The original National Theatre production soundtrack, created by Goldfrapp was replaced by a modern collection of music pieces which seemed to highlight the more sinister and macabre as opposed to Goldfrapp's more dramatic music.

It's not every day that you see Greek tragedy on local stages, so take this opportunity to experience this wonderful story and the wonderful and powerful presentation. I left the theatre feeling quite breathless, as if I'd been witness to an actual murder, it's that powerful and passionate, and that is due to the sharp direction and the incredibly passionate acting of the two leads and the rest of the cast.

Read the original article here.