This production of Medea was first staged as part of the 2022 Bard in the Botanics season, where it received great critical acclaim. It is written by Kathy McKean after Euripides and directed by Gordon Barr.
Medea’s husband, Jason (Johnny Panchaud), is leaving her for a younger woman. Having devoted her life to Jason and bearing his two sons, she is understandably incandescent with rage. To add insult to injury, she is also banished from her home but she convinces King Creon to give her a day to organise her departure. This gives Medea enough time to plan her revenge and hurt Jason in the worst way imaginable.
Returning to the role of Medea is powerhouse performer Nicole Cooper. Nobody does anguish better than Cooper, who screams and rages as she unravels throughout the course of the play. It’s an exhausting watch as she flips between grief and anger at the loss of her husband to another woman.
A bold move from Benny Goodman’s lighting design is to illuminate the audience during some of Medea’s monologues, which gives you an uncomfortable sense that you’re somehow involved in her journey.
Kathy McKean has modernised this play without losing any of the impact or meaning behind the original text. The script is lyrical and poetic and delivered by such tremendous actors- a real treat to listen to. Medea is a deeply conflicting watch as we are drawn into Medea’s monologues and you can’t help but feel sorry for her.
While Panchaud’s Jason is never a sympathetic character, it’s painful to watch as he falls to the floor with grief, covered in the blood of his children. Anchored by supporting performances from Isabelle Joss and Alan Steele, this production is deeply impactful and devastating.
Photo credit: Tommy Ga-Ken Wan
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