“I am a modern woman, exploring my options, making a decision”
Mike Bartlett’s Medea initially seems a world away from Euripides’ original. With a new version written for Headlong and directed by himself, Bartlett transplants Rachael Stirling’s Medea into stultifying Home Counties suburbia, vibrantly captured by Ruari Murchison’s set. In this small town where her husband Jason grew up, she has long been viewed as a too proud outsider and when he leaves her for the much younger daughter of their landlord, she sinks into a deep and angry depression. Her wrath is all-consuming, pushing even her maternal instincts aside as she barely engages with her son Tom, left mute since his father departed, in her relentless pursuit for vengeance.
Even before she arrives onstage, Stirling’s presence dominates proceedings like a threatening storm cloud. Her eyes flashing with coruscating wit and scarcely concealed contempt for those around her, even the making of cups of tea feels like a declaration of war as she seethes with rage at what her life has become. There’s a brutally blunt humour to her, especially in her interactions with those neighbours – Lu Corfield’s compassionate Sarah and Amelia Lowdell’s sharper Pam – but there’s also traumatic emotional damage, eye-wateringly evinced in a highly disturbing kitchen scene. Continue reading “Review: Medea, Watford Palace”