With a modern twist and strong acting, Theatre de la Jeune Lune’s production of Euripides’ “Medea” is breathtaking. Often said to be one of the most emotionally intense theatrical experiences, “Medea” is a classic Greek tragedy full of betrayal, misery and wrath.
As the play opens, we hear the agonizing moans of Medea (Barbara Berlovitz) reverberating across the stage. Her husband Jason (Vincent Gracieux)- the leader of the Argonauts-has left her and taken a new wife, the daughter of Creon, the king of Corinth. Medea confides to the Chorus (Isabella Monk), of her plans for revenge and the Chorus agrees to remain silent.
Medea is then met by Creon and informed of her banishment from Corinth. She and her children are to leave the next day. Soon after Creon’s departure, Jason returns and promises his support of Medea and the children in their exile. Later, Medea meets up with Aegeus, King of Athens. Aegeus offers her a place to stay if she will cure his impotence. Now that a place of hiding is secured, Medea can continue with her plot of revenge. “Brute hate has won my heart,” Medea proclaims. “It is the cause of all the misery this world has known.”
Although “Medea” might appear to be “just another tragedy,” it proves to be much more complex than that. Director Steven Epp chose to create a symbolic interpretation of the play, directing strategically to emphasize certain lines and even words in Euripides’ classic work. Fog, drastic lighting, deep fabrics, fake blood and a broken piano sound are just a few elements chosen to accentuate the director’s intended meaning. The most unique aspect of the play is the character of The Singer (Janet Gottschall Fried). A member of Medea’s house, the Singer sings or shouts when tension is heightened in each scene. Singing songs by Shostakovich, these unexpected bursts of operatic sound instill a true sense of alarm and fear in the audience.
Epp also chose to highlight the four elements - fire, air, earth and water. The characters consistently rub themselves with dirt or bathe their heads with water, to represent a cleaning ritual or perhaps paralleling the Christian act of baptism.
Along with the wonderful artistic interpretation, the acting in this production is impressive. The delivery is smooth and clear, though some words do get lost in the overbearing size of the set. Regardless, each scene is more compelling then the next. The scene in which Jason and Medea discuss her banishment and exchange harsh words is especially riveting.
The cast is very well trained and familiar with each other - several have worked together for over 20 years. This adds a very intimate, unified sense between each character on stage and creates a plausible production.
However, for those Classics buffs who may expect a direct translation from Euripides’ ancient Greek text, prepare for disappointment. Epp’s adaptation, while maintaining most of the original translation, mixes some slang phrases into the script and simplifies some of the dialogue. This idea of changing a few phrases for modern audiences gives the production originality and modern-day appeal.
Theatre de la Jeune Lune’s “Medea” is an excellent, powerful presentation of a classic tragedy. While it is emotionally taxing, this theatrical experience is an unforgettable one.
