Its cast of characters may include kings
and heroes, but in Tom Scutt’s design
Medea
looks comparatively low-rent, like a 1980s eastern European
presidential palace: recent but already falling apart, not unlike its
anti-heroine’s marriage. Then stretching away beyond the back half-wall
is a more ancient, dark, brooding grove, the sort of place where
sacrifices might easily be made.
Most actresses in the title role exhibit a fiery incandescence, as
Medea resolves to revenge herself on husband Jason for his desertion of
her by murdering, first, his new wife, then their own sons. Helen
McCrory conjures up more a spirit of savage drought, as if she has run
out of hope and with it tolerance. Danny Sapani as Jason and Martin
Turner as his new father-in-law Kreon spout specious and self-serving
rationalisations, which instantly vanish in Medea’s arid sands. This
desiccation is alternately impressive and attenuating: it makes for a
coherent psychological portrait (we see Medea show an instant of
remorse and whimperingly question her own resolve, only to rebut
herself in a flat mutter), but it also lessens the dynamism and the
tension of inexorability when she does act.
Carrie Cracknell sets great store as a director by movement and dance,
so the choric sequences of a Greek drama are a gift to her. However, it
is difficult to see what the (I use the term properly) spastic dancing
of the chorus against the Goldfrapp duo’s score symbolises or brings to
the picture. Cracknell does, though, continue the interrogation of
images of femaleness conducted in her last National Theatre production
Blurred Lines. Euripides (rendered
here in a fairly neutral version by Ben Power) regularly questioned
both civic values and deference to the whims of the gods, making him a
keen subversive in 5th-century-BCE Athenian terms; in the character of
Medea he also dismantles the traditional “womanly virtues” of
passivity, nurturing and the like. In this respect it would actually
have been more daring to preserve the original
deus ex machina ending in which
Medea is carried away from the bloody scene by an airborne chariot of
the gods, rather than to modernise it by making her remarks about
redemption indicative of a psychotic break as she stands there with her
sons in body-bags. Imagine how shocking it would be for the implacable,
supposedly wicked woman to get away with multiple murder, and that with
divine blessing.
Written for the Financial
Times.