MEDEA To 17 April.

Tour.

MEDEA
by Euripides new version by Tom Paulin.

Northern Broadsides tour to 17 April 2010.
Runs 1hr 30min No interval.
Review: Timothy Ramsden 4 February at Oxford Playhouse.

Externals outdo the empty heart of the matter.
Though Oxford Playhouse is a fine place, Northern Broadsides might have been unwise to open their Medea here. The Chorus enter via the auditorium like three latecomers, Medea’s early offstage cries sound as if someone has stubbed their toe backstage, and the set looks as if it’s been rescued from a skip and is awaiting stage management turning up to sort it out.

In particular, three huge panels lean inelegantly against the rear wall, while the jumble over one side is soon revealed as the instrument store; whenever there’s music to be played characters sidle over there, to fit-out this timelessly-set Greek tragedy with mouth-organ (a ‘prairie-home’ gospel sound mixes with jazzy smoochiness in the score), sax and electronic keyboard.

It may well play better in less formal and in-the-Round venues to be visited, and Broadsides’ Halifax home – always a good place to catch them.

Meanwhile, only one part of the set makes sense: the split crown, resembling a ship’s prow but finally assembled as the chariot in which Nina Kristofferson’s Medea prepares to leave, red ribbons flowing from her hands to represent the sons she’s slaughtered. She stands here proud above Andrew Pollard’s formerly imposing Jason, the faithless husband now huddled in grief below her.

Though Tom Paulin’s new version makes clear Medea’s lack of status as an immigrant – Kristofferson and Cleo Sylvestre as her children’s Nurse are the no-White cast members – there’s a static quality to the production that inhibits the tragedy.

It’s only too typical that sections of the main verbal spats, between Kristofferson’s somewhat effortful Medea and husband Jason, ditching her for a princess now he’s safely back in Greek territory, and with Creon, the local king, take place across plinths either side a sloping walkway. The production is too statuesque, too deliberate, too often.

That walkway becomes red-floored by the climax and the costume distinguishes between Medea’s vibrant green and the earthy colours linking the locals to their soil; even the smart set, in cream clothing, have a touch of the earthy – shoes, hat – about them. If only the performances made as strong an impact.

Nurse: Cleo Sylvestre.
Tutor/Aegeus: Fine Time Fontayne.
Chorus: Michelle Hardwick, Barbara Hockaday, Heather Phoenix.
Medea: Nina Kristofferson.
Creon/Messenger: Barrie Rutter.
Jason: Andrew Pollard.

Director: Barrie Rutter.
Designer: Emma Wee.
Lighting: Julie Washington.
Music: Barbara Hockaday.

2010-02-09 06:18:33