Medea
Queensland Theatre’s latest production is a bold new take on the Greek tragedy ‘Medea’. Written by Kate Mulvany and Anne-Louise Sarks, this adaptation is written from the point of view of the children at the heart of the tragedy.
Having the story told from the perspective of the young boys certainly is a radical take. However, it became apparent that having a solid knowledge of the story was somewhat necessary to following the action. Though there was a fair amount of exposition within the dialogue, without being privy to the action on the other side of the door was, at times, difficult to follow the plotline.
Director Daniel Evans incorporated a lot of physicality within the blocking. This added to the realism of the show. Having extended scenes of the boys playing and fighting in their bedroom enabled the audience to believe they were a fly on the wall in this very realistic scene. His handling of the young performers was clearly very competent as they both gave professional and believable performances. His use of the unique stage layout was clever and dynamic, with blocking that made sense while still utilising the entirety of the stage.
Set design by Chloe Greaves was truly breathtaking. The floating effect of the bedroom, with huge glass panels that completely encapsulated the stage space was a powerful metaphor of the children being trapped in the room and the audience watching them in this life-sized ‘fish tank’. The attention to detail within the stage was extraordinary, from the downlights to the ceiling fan, wardrobe and hallway, the set gave the illusion of being part of a real house. Greaves should be commended for her incredible stage design in this production.
Lighting design by Matt Scott enhanced the stage. The use of striplights facing the audience gave a modern, almost sci-fi feel to the show and was useful to create blackouts without the use of curtains or total darkness. Subtle lighting changes throughout the show enhanced the action without being noticeable and the star effects on the walls was a particularly visually striking moment.
At this performance, the roles of Jasper and Leon were played by Edward Hill and Jeremiah Rees respectively. The pair were both accomplished and confident actors that had a natural rapport with one another.
As the younger of the two, Hill’s portrayal of the younger brother was believable and charming. His rendition of ‘Octopus’s Garden’ was sweet and haunting. Audiences could easily sympathise with this young child trying to grasp what is happening within his family.
As caring big brother, Rees did a wonderful job at bringing energy to the role of Leon and keeping a watchful eye on his younger brother. Rees’ caring nature towards Hill was endearing and also well balanced with his somewhat reluctance and annoyance at sharing a bedroom with his younger brother. His highly emotional scenes were very believable and his stage presence was strong.
It is truly exceptional to watch a professional play led by two children. Neither Hill nor Rees missed a beat in this performance that was not only very wordy but incorporated a lot of choreographed physicality and working with props. Hats off to both of these young performers who no doubt have a very bright future.
Helen Cassidy played Medea, the boy’s mother. Her appearances on stage were brief yet she did well to bring a frantic and foreboding energy to the stage. Her interactions with the boys was somewhat believable, however her final monologue felt a little devoid of genuine feeling.
Overall, this production of ‘Medea’ was an interesting take on the Greek tragedy. Though at times the script was a little vague and audiences should come with a knowledge of the play beforehand, the standouts were the incredible set design and the committed and believable performances from the two young boys at the helm of the show. A magnificent performance delivered well beyond their years.
Yasmin Elahi
Photos: David Kelly
Subscribe to our E-Newsletter, buy our latest print edition or find a Performing Arts book at Book Nook.