Medea - Review

Soho Place, London

***

Adapted by Robinson Jeffers from the play by Euripides

Directed by Dominic Cooke

Sophie Okonedo

Sophie Okonedo bestrides the Soho Place like a colossus such is the depth and power of her Medea. In Robinson Jeffers’ adaptation of Euripides’ classic tale, hers indeed is “a bitter thing to be a woman”. Betrayed and dumped by husband Jason for the beautiful young daughter of Creon, her fury is palpable and in a 90 minute one-act telling of the old yarn, Okonedo burns at its core like a brilliant flaming torch.

But Medea’s infernal misandry towards Creon and Jason is matched only by that of director and co-producer Dominic Cooke, who lumps all of the play’s adult male roles onto the solo shoulders of the unquestionably talented Ben Daniels. We have been here before with Cooke’s mean spirted multi-role casting in his recent Good, a casting tendency that is not good. Daniels’ multi-faceted performance is a distraction, with his Aegeus proving annoyingly camp. Elsewhere Marion Bailey’s Nurse is a decent turn, however the Chorus of three women of Corinth, sprinkled amongst the stalls are a lacklustre trio.

It is when Okonedo speaks that the play becomes alive, such is her genius. But, save for Creon serving her with a Decree of Banishment that deliciously echoes Den Watts' 1986 serving of divorce papers on Angie, much of the other spoken parts are tedious.

As the horrific climax draws near, one is almost willing Medea to get on with it - such is the soggy  (yes, there’s water) melodrama that the cast make of the play’s endgame. And (spoiler alert), when she does slaughter her boys (great work from the ice-cream slurpingly duo of Ben Connor and Heath Gee-Burrowes on press night) even then the audience is shortchanged, with the murders frustratingly happening offstage and represented only by Okonedo’s outstanding acting and her arms drenched in blood. 

Okonedo is one of the most gifted actors of her generation. To have seen her murderous actions, rather than just her emotional reactions, could have made for a moment of outstanding theatre.

See this play for Okonedo’s work - she will be remembered as a magnificent Medea. Sadly, the production will not.

Medea – ENO at the Coliseum

Coliseum, London

*****

Composer: Marc-Antoine Charpentier
Libretto: Thomas Corneille
Director: David McVicar

This review was first published in The Public Reviews

Sarah Connolly

The English National Opera’s production of Charpentier’s Medea has been eagerly awaited and David McVicar’s heavily stylised interpretation played to a packed Coliseum. This mythical Greek tragedy, with its horrific climax so well known in the canon, proving to be a fable that when told by such talented performers, can still shock.

The plot is undoubtedly complex: Medea, married to Jason, he of Argonaut fame and the mother of his two sons, finds her husband’s desire waning for her as he falls for the beautiful Creusa. Set against a tangled but essential backdrop of conflict, jealousy, warring Ionian nations and including the other critical characters: Orontes a valiant ardent suitor of Creusa and Creon her father, the tale is in essence the story of Medea’s fury at her betrayal by Jason and the revenge that she wreaks upon him and Creusa.

Although written in the seventeenth century for Louis XIV, McVicar sets his tale against a backdrop of 1940s war torn Europe with key men all having distinct military backgrounds. Jason is a naval commander, Creon an army general, whilst Orontes is a flying ace from the US air force, underlined by Aoife O’Sullivan’s ominously black-winged Cupid making her entry in a P51 Mustang from that era. Christian Curnyn’s orchestra are magnificent with Nicholas Andsell-Evans’ masterful harpsichord providing a continual aural reference to the baroque era of this opera’s genesis.

Without exception, the delivery of each character is flawless. Sarah Connolly is Medea, Princess of Colchis, with godlike powers. Connolly, one of our leading mezzo-sopranos has a gruelling role as her life unravels from doting wife to vengeful murderess. This diva has presence and projection, with arias that are spine-tingling. Modestly clad throughout, mostly barefoot in a humble slip, she commands our sympathy as she is humiliated and rejected. It is troubling to acknowledge in the brilliance of her performance, that whilst her last act of infanticide horrifies, her enaction of a mother drawn to such revengeful slaughter provides a terrifying glimpse into what Congreve was to describe in the 1700’s as “hell having no fury as a woman scorned”.

Jeffrey Francis, a notable tenor from Missouri makes his ENO debut as Jason. His tone and presence are majestic, though if there is a criticism, it is that he seems to old an actor to be capable of winning Creusa’s love over and above the youthful warrior Orontes and the young princess’ desire for this heroic seaman, apparently old enough to be her father, lacks credibility.

The elderly Creon from Brindley Sherratt is a richly voiced portrayal of initial imperiousness crumbling to inadequate frailty when challenged by Medea’s dark supernatural powers. His desperate chasing of young beauty, trousers round his ankles, was as impressive as it was pitiful. Katherine Manley, an exquisite soprano plays his daughter, giving a performance of youthful talent to be savoured.

Choreographed by Lynne Page, the movement has flair and imagination. The leaping sailors and beautifully infernal female demons that torment Creon to madness, ensuring that there is eye as well as ear candy for all. At times though the synchronicity of the company’s dance seemed disjointed and one could wish for the ballet to be more tightly drilled.

Sung in a new English translation by Christopher Cowell and with surtitles, the libretto provides an accessible interpretation of the complex tale. In London for 9 performances only, this co-production with Geneva’s Grand Theatre thrills with a gruesome tale, superbly told.

Runs in repertory until 16th March