The incomparable Marieke Heebink astonishes in Simon Stone and ITA-ensemble’s production of Medea at the Barbican Theatre
“I remember us
That’s what I do now”
I first saw Simon Stone’s Medea in Amsterdam, in Dutch, without surtitles, and it was a revelatory experience which has lingered long in my memory as one of the best classical adaptations I’ve ever seen. So the chance to revisit it at the Barbican, once again anchored by the incomparable Marieke Heebink in Bob Cousins’ stunning design was unmissable.
And it did not disappoint in its ferocious retelling of Euripides’ classic, as Stone makes it feel urgent and chilling and all-too-appalling believable in its depiction of a woman pushed to the edge. Poleaxed by the revelation of her husband’s affair with his boss’s daughter, her extreme actions saw her committed to a psychiatric institution. A year later on her release, she craves a fresh start but finds the world has moved on without her. Continue reading “Review: Medea, Barbican”
I’d thought I didn’t need to see Richard II again for a good while but Michelle Terry’s tenure at the Globe is most certainly testing that resolve. The forthcoming production there is to be staged by the first-ever company of women of colour in a Shakespeare play on a major UK stage. Co-directed by Adjoa Andoh and Lynette Linton, Adjoa will also play the titular role. Continue reading “Theatre news round-up”
“Ik heb nog nooit zoiets merkwaardigs gezien als hoe die twee met elkaar omgaan”
Though considered one of the most important contemporary Belgian writers, Hugo Claus’s renown hasn’t stretched much outside of the Flemish-speaking world. So it is perhaps fitting that I saw Toneelgroep Amsterdam’s production of his Een Bruid in de Morgen (A Bride in the Morning) at the Toneelschuur theatre in Haarlem in its native language, without the English surtitles that are so usefully provided on Thursdays at their main base in the Dutch capital.
I was well up for the challenge though, not least because the show fell under the auspices of their emerging directors programme TA-2 – nurturing the Ivo van Hoves of the future – and through which I saw Julie Van den Burgh’s extraordinary reinterpretation of Blood Wedding back in 2013. This time round, it is Norwegian Maren E Bjørseth getting the opportunity to work with the ensemble company, taking the show around the Netherlands. Continue reading “Review: Een Bruid in de Morgen, Toneelschuur Haarlem”