Medea

The famous tragic tale of Medea is given a modern twist by Orange Prize nominee Stella Duffy, who wrote the story with a feminist twang in mind.
The intimate setting is nicely realised, from the stage décor to the small number of characters. One will also command the attempt to modernise the direction, with the Greek chorus singing the interludes and embodying the voice of women and their compassion for Medea, betrayed by Jason. Kudos also to the one male actor playing the three male characters, which helps draw the audience into the story.
But those points left aside, the play as a whole is just disappointment. The quality of acting is plain inconsistent, with most actors confusing “dramatic acting” with “worried forehead lines”, and seemingly unable not to keep one arm stuck to their side at all times. The feminist message is drowned amongst all that awkwardness, and the dramatic element of the story is so over-played it becomes dull.
If there is one reason for seeing the play, however, let it be the main act – Nadira Janikova. Her presence and charisma can be felt the second she walks on stage, and she superbly delivers her lines in a flawless performance that makes Medea a human person the audience can relate to. Janikova shines through the whole play, and one wonders how fantastic the play would have been, had the rest of the cast had had half her talent.

2/5

Adeline Amar