In Greek mythology Medea was the daughter of King Aeëtes of Colchis, niece of Cirece and the grand-daughter of Helios the sun-god. She was a woman of great lineage and became wife to Jason of Argos when he came to steal the golden fleece. Renowned sorceress and a woman of intense power, Medea seeks justice when she learns of the betrayal of her husband Jason when he takes a new wife in Princess Glauce.
Introducing the lives of the two through the narrative of Medea’s nurse, the a cappella choir sings sombre while forlorn Medea learns of her betrayal. With the use of modern classics, the a cappella choir is a clever addition to the play, adding depth and setting the tone appropriately.
Re-working Euripides' original Greek classic from 431 BC, it is an age-old tale that playwright Suzie Miller has breathed new life into. It delves deeper into the psyche and struggle of a woman whose dreams and hopes have been shattered. Rather than paint Medea as a crazed woman scorned, Suzie evolves the character to have a powerful sense of ownership, strength and compassion.As the vengeance of Medea unfolds, the audience is taken down the atramentous path of her mind and her dark spiral into a fate that cannot be undone. She seeks retribution in the form of sorcery by murdering her love rival, but when her plan goes astray she is forced to take the lives of her own sons to protect them from more brutal deaths. She becomes a pillar of grief and sorrow that represents the voices of women that have remained silent through the ages. This is her story and her voice; resonating with the plight of women who have suffered throughout the ages.
"I have had to do what a man would do, what a man would honour another man for doing." – Medea
The in the round, the set design is minimalistic, however all parts of the stage were used effectively and efficiently. Boarded by melted wax and lit candles, it's a accurate representation of Medea’s home and dark mind. A large, wooden table with a candle covered tree give dynamics to the set and symbolise power when climbed atop, much like the stairs at diagonal corners of the stage used for entry and exit points.
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As Medea, Christen O’Leary is simply brilliant. She evokes both pathos and humour as she passionately portrays the life of one of history’s most ambitious Greek women. She is a powerful actress that embodies the suffering of a lover and a mother. Intense, and with the ability to draw the viewer in, she is embodies all that is Medea and conveys the darkness of the woman’s mind with evocative emotion. The final monologue that she delivers is simply unforgettable.
Damien Cassidy as Jason embodies the betrayal of a husband portraying a vow breaker and the weaknesses that have seen him cause the ultimate suffering. When learning of the fate of his sons, his emotion is moving and powerful as he rages at Medea. Helen Christinson as the nurse and briefly as Princess Glauce is versatile and engaging. As a servant, her loyalty for Medea is unwavering, which she portrays effortlessly her interactions with Medea. Adapting to the role of Glauce, Helen is regal, demanding and cannot be faulted.
“My pain would be relieved in death, my soul returned would be a welcome release from it, but I must live... I will remain a living image of what men can drive a woman to do.” – Medea
The play is a darkly intense look into issues that are as current today as they were when the play was penned in 431 BC, and the human condition has hardly changed. Both director Todd MacDonald and playwrite Suzie Miller have re-imagined these themes for a successful play. Even if viewers are not familiar with the original tale of Jason and the Argonauts, the themes are ones that evoke pathos in viewers making it an unforgettable and moving piece of theatre.
