African-American Shakespeare Company to Stage Euripides' MEDEA, 3/8-30
Passion. Love. Vengeance. African-American Shakespeare Company continues its 19th season with MEDEA, Euripides' infamous tragedy about a jilted wife exacting the ultimate revenge on a cheating husband. Dawn Monique Williams, a veteran of staging the classics, directs, with Leontyne Mbele-Mbong in the title role. MEDEA plays Saturdays and Sundays, March 8-30 at the Buriel Clay Theater at the African American Art and Culture Complex, 762 Fulton Street (at Webster) in San Francisco.
MEDEA is one of the great plays in Western literature and a classic Greek tragedy. Euripides takes us to the knife-edge of passion and madness. After a long series of trials and adventures, Greek hero Jason has abandoned his wife, Medea, along with their two children, in the hopes of advancing his station by marrying the daughter of King Creon. Jason's abandonment of his family crushes Medea, driving her to override her maternal instincts, curse the existence of their two children, and carry out an unimaginable quest for justice.
Cast of the AACC Production of MEDEA:
Medea: Leontyne Mbele-Mbong
Tutor: Elizabeth Strong
Nurse: Cathleen Riddley*
Kreon/Aigeus: Dwight Dean Mahabir
Children: Gabriel Reader and Amir Glenn
Jason: Khary Moye
Director: Dawn Monique Williams
Production Manager: Gregg Hood
Stage Manager: Cheryle Honerlah
Set Designer/Carpenter: Bert van Aalsburg
Costume Designer: Courtney Flores
*Member Actors Equity Association
Director Dawn Monique Williams's 10-year Relationship with MEDEA:
"As an undergrad theatre major, I read several of the ancient Greek tragedies. I understood the plays very well in their academic context - historical fictive narratives on the construction of a patriarchal Greek society - but it was their tribal markings that evoked my visceral response. Rich with song and dance, the voice of the community is what I heard in these plays: collected stories, shared history, heated debate, and invocation of gods. These plays changed my relationship to theatre and Euripides' Medea, in particular, unlocked my sense of theatricality. That was over a decade ago, and here I am revisiting this big, messy, impossible classic with renewed vigor.
"Perhaps it was the fact that I was a new mother at the time I first directed the play, but Medea's inconsolable grief permeated my psyche. I saw a play about postpartum depression, I saw Susan Smith, Andrea Evans. I wondered the big unanswerable question, "what would drive a mother to "such horrible acts?" I still wonder that now. I'm still in the trenches with this play and would probably unearth something new and revelatory if I directed it again every decade of my life. Right now I understand grief differently than when I was 23. I understand parenting differently. Grief is unreasonable. Loneliness, isolation, alienation don't result in logical behavior. And truthfully, this play is less about parents and children, and more about neglect and punishment. It is a play about love. About sacrifice, betrayal, the importance of community, belonging, and the near impossibility of a human heart surviving unscathed.