![]() Tom Scutt's split-level set, with a Corinthian palace above and a dark forest below, seems too palpably symbolic of the play's division between public and private worlds. The production's moral ambivalence extends to the Athenian king, Aegeus, who offers Medea sanctuary: as played by Dominic Rowan, he is both a benign altruist and a cautious diplomat anxious not to offend the Corinthian ruling class.įor all its psychological astuteness, the production has one or two oddities. ![]() The point is also clearly made that the play is as much his tragedy as hers, so that when Medea tells Jason "we are as wretched as each other", it is true. ![]() ![]() Michaela Coel's Nurse, in her opening speech, describes Jason as "a demon, a he-devil" in Danny Sapani's performance, however, he is less an obvious ogre than a politician who uses sophistry to justify his abandonment of Medea. ![]() It is a reading that prevents the play from being a simplistic apologia for an abused woman. "My heart is wrenched in two," McCrory announces at one point and throughout, her Medea switches, with brilliant volatility, from the manipulative to the murderous to the unpredictably humane. ![]()
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