Review: MEDEA, Bristol Old Vic

Oh dear. It's hard to know where to start with this confused and disjointed version of Euripides' tragedy.

Based on a concept by director George Mann, this new production weaves the Greek myth of Medea with the story of Maddy - a modern woman who is cheated on and suddenly divorced by her husband. She discovers a copy of Medea on her doorstep and within the pages finds inspiration for her own actions.

There's something commendable about taking a classic and looking for its modern equivalent, and there is some success here. Mann's concept centres on how women are often treated as collateral damage in divorce and how those women who have given up work and their home for married life can be left destitute when things go wrong.

While this is an excellent point to be made, sadly, any subtlety or tension is left behind as Chino Odimba's modern script continually beats you over the head with the concept. There's no chance to develop the idea, just a continual barrage of speeches by Maddy/Medea to remind us of this point. It feels like a rant, not a coherent exploration of a serious issue.

The all-female cast works hard with this material, but cannot make up for its shortcomings. Akiya Henry as Medea/Maddy does try to bring the kind of all-consuming rage necessary to the part, but isn't helped by being directed to play scenes for laughs immediately before said all-consuming rage- a hard journey for any actor.

Unfortunately, while there is commitment and technical ability in her performance, Michelle Fox's turn as Creon doesn't work. We know she is playing a man because she is put in a black blazer and has adopted a wide stance; that's as subtle as it gets. While Fox can certainly sing, the scene where Creon banishes Medea is a lowlight.

Then there's the singing in general. The back and forth between characters in a kind of meandering Jesus Christ Superstar type whine is passable at first, but over the course of the evening starts to grate. At well over two hours, this is certainly the longest Medea this reviewer has seen and the plot doesn't stretch out well.

Notably absent from the creative team is a choreographer and it shows in the chorus work. The movement is rough and conceptually doesn't work (I haven't seen clicking used as raindrops for a while for good reason). This kind of heavy-handed work continues in the second half as Medea is surrounded by voices repeating lines sending her into a rage. Stylistically it feels unsophisticated and tired.

Mann notes in the programme that many interpretations of the myth of Medea were written in Ancient Greece, but only Euripides's has survived. On this evidence, perhaps that's best.

Medea at Bristol Old Vic until 27 May

Photo credit: Jack Offord

To post a comment, you must register and login.