THE STAGE EDIT: MEDEA
Ever watched a performance where you sat through 80% of it unaware of the fact that your mouth was hanging open, due to a mixture of disbelief and awe, with drool slowly accumulating with a growing eagerness to flow out of said open mouth? Or one that, for the first time, led you to sit through it with your back straight for more than 3 minutes definitely securing your gold star from your chiropractor? Well, watching this year's National Theatre production of Medea has allowed me to boldly admit that I have indeed seen such a performance that had an overwhelming hold of both my mind and body.
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Source: National Theatre
My goodness, can I just say that Helen McCrory is one mega talented lady? Yes? Ok, Helen McCrory is indeed one talented lady. Jeez Louise! I fear I have gotten ahead of myself in sharing with you what I thought about Medea but I know it is safe to say that I thoroughly enjoyed (?) it. Hmm... 'enjoyed' is the wrong word. Let's just say my attention to what was happening on the stage never wavered. When I first let you in on the fact that I was going to see the NT Live screening of this show a couple weeks ago, I had never heard of Medea. My "knowledge" of Greek mythology sort of stems from watching Hercules: the Legendary Journeys and Xena: Warrior Princess with my family every Saturday many, many moons ago; Disney's Hercules; Troy; Clash of the Titans and other such productions. So, I guess that may shed some light on why her story is not one I can say I know very well.
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This tragic, captivating and slightly modern version of Euripides' play was written by Ben Power and brought to the Olivier stage under the remarkable direction of Carrie Cracknell (A Doll's House; Electra; Hedda). The beautiful, haunting and not all overpowering score that accompanied this recount of a woman called Medea, who goes to great lengths to show both her love and hatred for one who captured her heart, was composed by Goldfrapp - the popular music duo that is Alison Goldfrapp and Will Gregory. And the choreography, which I found quite fascinating as the show progressed, was directed by Lucy Guerin. The stage was yet another aspect of the whole performance that intrigued me. It comprised of Medea's house, a sinister-looking forest and the balcony of a king's palace and was designed by Tom Scutt (Constellations; Romeo & Juliet; The Merchant of Venice). Though each location was on stage at all times, I was amazed at how they overshadowed the others and became the focal point when the scenes the actors were enacting took place in that particular part of the stage. I guess we have the lighting department to also take our hats off to. Another aspect of the production that deserves a mention is the costumes. The costumes of the characters were also quite interesting as they seemed to mirror the characters' temperaments as the play progresses. Overall, I thought it was brilliant and really wish I had been sat in the Olivier theatre as I watched Medea.
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Photo Credit: Richard Hubert Smith, Alistair Muir (Bottom Left)
From the very first moment Michaela Coel (Home; Blurred Lines; Chewing Gum Dreams), who took on the role of Medea's Nurse and friend, steps on stage and opens her mouth we are yanked into the world of woman who is so full of passion, her emotions and strength know no bounds. Michaela Coel's voice, which struck an unnerving balance between being laden with emotion and commanding, and her portrayal of Nurse was the hand I held onto as we were escorted down this bleak and, on some level, logical road towards understanding Medea's psyche. And when we see Helen McCrory (Penny Dreadful; Harry Potter and the Half-Blood Prince; The Queen) as Medea for the first time, you quickly come to terms with the fact that the chance to turn back and never hear this tale is long gone. I mean unless, you know, you get a text saying your house has been burgled or something like that. Though you really should have switched your phone off or put it on silent as soon as you walked into the theatre *wags finger*. At first glance one would assume Medea to be erratic, unhinged and slightly nutty but as soon as you begin to see her actions and hear her thought process, you begin to realise just how methodical she is.
Jason, the man who it seems has quite a hold on Medea's heart, was played by Danny Sapani (Penny Dreadful; Misfits; Ultimate Force). And due to his warped plan for providing for his family, Medea's relationship with the King of the land, Creon - played by Martin Turner (A Midsummers Night's Dream; Prince William; Macbeth) - became quite strained. Amongst all the drama the love Medea has for her family is both undeniable and questionable which is why the end result still shocks me even though I have a very, very vague understanding of why and how what happens happens. I could tell you what that is, as the audience is told in the first 5 minutes of the play (which annoyed me slightly lol) but you know me, I never watch and tell you all that much about a storyline.
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Just watching this video makes me wish there was a library I could go to and just borrow all the copies of every single project Helen McCrory has worked on (for free of course) and work my way through them. *Do not watch this video if you do not know about Medea's story and don't like spoilers*. It gives you an insight into her career, creative process and thoughts on Medea.
This 90 minute adaptation of the Greek tragedy, Medea written by Euripides, was filled with so much passion, talent and many life lessons. I really hope that National Theatre decides to show a screening of this play in the future so that those who missed out can have the opportunity to be bewitched by this production from the moment it starts. And I am intrigued to know:
What film, play, musical, tv show or whatever (e.g. random act you saw on the train) that had you completely under its spell recently?
Mo x