'Medea by Seneca' at Theatre Elision in Crystal

This is event posted in 2020
Nearly every person who has ever taken an English class has had to read Greek Tragedy. Some would say this early introduction helped them understand Greek mythology. Medea by Seneca is produced by Shadow Horse theatre by Matthew Kelly, Max Besner and Matt Saxe, and directed by Matthew Kelly at Theatre Elision in Crystal through February 29th.

Photo by Mara Clark

Medea, (Kirstin Nelson) brings her character to life with raw emotion, projective charisma, and command of the stage. In the opening scene the chorus encircles her, hurling contempt and mocking her. Her monologues are sincere, hands spread out and I found myself embracing her every emotion whether it be shame, guilt or pride. “I’ve given birth but the people expect it,” said Medea. 

The unprecedented family dynamics explain how both Medea and Jason accepted sanctuary as exiles in Corinth, going on to have two children together. And how Jason later abandons Medea and his own children in order to remarry with Creusa, the daughter of Creon, king of Corinth and how he hopes to advance his own station and succeed as king.

Jason (Shad Cooper) is recognized as the ex-husband that Medea both hates, and can’t help loving. Shad Cooper does an excellent job embodying the role, his arms extend out as he makes great use of the entire stage, often talking to the air or looking up to speak with the Gods. Jason's betrayal blinds Medea so much that she wishes him harm even at the expense of her own children.

At one point, Medea grabs Jason and demands that he do what she requests. He’s hypnotized and Medea controls him like a puppet. Scenes like these are especially immersive because lights are bright crimson and the audience can see Medea’s full use of supernatural powers as she dispenses love potions, charms, and poisons. Characters sway and mirror Medea’s hysterical qualities and Medea’s nurse (James Michael Zappa) is often under her spell comforting and cradling her, dropping lines like “If you proclaim your pain it loses its space for vengeance.” You can’t help but empathize for this character as it's played it so well. The nurse patiently looks on, his mouth agape whenever she does anything extraordinary, or whenever Jason comes onto the scene riling Medea even further.

The chorus and messengers are also taken with Medea. She slides a finger down the face of Creon’s servant and gives the other a stern look and they run off stage, like children, too afraid. This gets a laugh from the audience.

Ingenious but simple techniques were incorporated by the production team so the characters could gesture and mime the objects they needed to describe. During one scene the chorus makes use of ribbons to sway back and forth, creating the illusion of the wingspan of a ship at sea. Director, Matthew Kelly, during a post show discussion, explained how expensive sets and props could have been built and used, but it’s the story that is most important.  
In this Medea, it is the strength of the cast, the production, and most notably the direction that helps us understand something noble in this Greek tragedy.


Come see Medea by Seneca.  Tickets at Eventbrite.com