Medea

Is life still a bitch for women? Is passion, love and vengeance still an integral part of modern society with its responsibilities of work/life balance and the consequences of women in power? These are some of the questions that are explored in Suzie Miller's adaptation of Euripides' famous play, bringing a fresh look at Medea's complex personality and the relevance it bears on feminism today. Even the original text asks questions about the role of women in the male-dominated environment of the time, quite a dangerous thing to do, where certain emotionally imprisoned people destroyed each other because of the intense friction between social attitudes, love, hate and its repercussions. These are themes which are timeless and its not surprising there have been numerous versions of this story. 

With the effective use of a four part Greek chorus and etherial score composed by Gordon Hamilton, we are taken on this journey through Medea's embittered scenario of rejection and attempt at self-reconciliation. This is certainly a modern version because we are led to believe in some sense to her actions, contrary to other interpretations, often because we could identify with those elements of rage and revenge similar to today's accent on misogyny and domestic violence, it being more often from a male perspective interestingly so; but this was certainly written with the ball in her court which may have certain people questioning the morality of its setting then and not now. How might her actions have been interpreted today which begs the question re writing this play from a feminist point of view, albeit another play altogether? I think I would have preferred to see the original, and with Shakespearean actors, because the modern twist, merging of the sexes, reminded me more of Australian suburbia and dominatrix households rather than an emphasis on the play's historical context. Still, new generations are often inspired by the great classics which can lead, in its reinvention, to some 'muddling in the meddling'.

Christen O'Leary's passionate interpretation of Medea's character certainly captured the contemporary flavour of this production, with a solid performance by Helen Christinson's dual role as Jason's mistress Glauce, in particular, and the nurse. Sarah Winter's set design was also both convincing and atmospheric.

It's good to see some Greek tragedy incorporated in the celebration of La Boite's 90th anniversary: may She rock on forever and continue to provide us with inventive and fascinating new works and artists.

Brian Adamson