premiere 13 Dec 2014
Perhaps there is no woman from Ancient Greece who speaks more to the imagination than Medea. Every age has its own view on the myth about the daughter of the king who, out of love for Jason, leaves her own country for good and follows him to Greece. She gives him two children, but after a few years she has to make place for another, younger daughter of a king. Medea does an unimaginable thing: she doesn’t just kill Jason’s new bride, but also her own children.
For his first directing job at TA, Simon Stone mixed the tragedy by Euripides with the true story of a child murderer in the US in the 1990s. The result is gripping. The inalienable and inconceivable core of an old myth is swirling and fermenting beneath the surface of a recognizable contemporary story. Medea is called Anna in this version, a successful doctor who is trying to get on with her life after a forced confinement. She is willing to forgive the affair of her husband with a younger woman and to make a new start with him and the children. Soon it turns out that their plans for the future do not correspond. Anna is in danger of losing everything: her husband, her children, her career. She is cornered and sees only one way out.
‘Letting his actors improvise is one of the ways in which Stone has created a performance that is very contemporary, but fortunately does not let go of the universal power of Euripides’s Medea. It is not just the adultery of her husband, but the way in which she is side-lined, that drives Anna to her actions.’ - Trouw ****
Simon Stone about Medea
'The story of Medea is timeless. When a couple separate, one partner’s desire to hurt the other can go so far that they destroy the very thing they hold most dear: their children. In Medea, a woman takes the lives of her own sons. What would drive someone to such a deed? Is it the realization that everything she once meant to her husband is no more: that he has ‘traded her in for a younger model’? Medea was once Jason’s muse, the woman who seduced and enchanted him. Now that she is older and no longer fertile, he abandons her. She has no part in his plans and ambitions. He shuns her and takes away her very purpose in life. She has reached the end of her tether. She refuses to give up her children and is prepared to take the most drastic action. Does she want to hurt him? Is she seeking revenge for his treachery, or are her actions a manifestation of her devotion? Perhaps she is simply mad. Medea is about the power of a woman who once again experiences the exclusion she once felt in a dim and distant past.'
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