Ned Bennett, staff director for Medea, on the production’s themes, designs and inspirations.
There are disturbances in nature: animals, birds and the elements recognise something is wrong in the universe. Rather than Medea flying off into the heavens on a chariot drawn by dragons, the forest shakes and the heavens open. Her two young sons are endowed with animal senses, a strange awareness of what is going on around them without necessarily being able to articulate it – drawing on the sense of fatalism experienced by doomed children from classic horror films.
Set somewhere between now and the Ancient World, this production of Medea has a contemporary feel recognisable as our own time. Ben Power’s adaptation of Euripides’ powerful tragedy is based on several literal translations but the play has been re-written to make the language muscular, the story clear and accessible. A primary focus with this version of the text is on making the characters’ actions psychologically driven. There is a drive away from the overly poetic whilst retaining the scale of the magical world.
The Medea set designed by Tom Scutt. Photo by Richard Hubert Smith.
Tom Scutt’s design creates a world that combines the contemporary with the magical; the strict patriarchal society clashes with the woodland anarchic. Strong influences include horror films in which there’s a belief in magic and a focus on the other: The Shining, Amityville Horror, Carrie. The imagery of Lars Von Trier’s Melancholia and its examination of marriage and depression at a time when the world might be ending has become an important reference point for the production.
The forest growing out of the floor captures the emotional turmoil of Medea’s brain as well as her connection with the natural world. Trees grow out of one human environment and support another, highlighting humankind’s dependency with nature; the trees break through the carpet and collide with the roof tiles above as an intervention. Likewise, the carpet of Medea’s home fades out into a muddy extreme. The battered lino floor and squat-like furniture conveys the sense of displacement that has plagued her life. The layout of the space allows for movement, transience and places for Medea’s ill-fated sons to hide and overhear things.
Helen McCrory as Medea. Photo by Richard Hubert Smith.
Movement and music unlock the psychological complexity and magical core of the story. Music for the production is written by Will Gregory and Alison Goldfrapp, and has a melancholic, pure tone with a lack of embellishment. Within the music is a clash of the choric with the discordant extending the unsettling, horror movie feel. The musical moments transcend the action through harmonised, long notes and hymns. Lucy Guerin has choreographed movement for the chorus which abstracts the women of Cornith’s comprehension, comment and pre-emptive response to the events and world around them.
The Chorus and Danny Sapani (Jason). Photo by Richard Hubert Smith.
Two men. Where are they? Who are they? What is this room, and what might be beyond the walls?
These are the questions audiences watching Ballyturk might ask. Enda Walsh’s ambitious and tender new work is currently playing at Galway International Arts Festival, before touring to Dublin, Cork, then playing at the National Theatre from 11 September - 11 October 2014.
Hear Enda Walsh and cast members, Mikel Murfi, Cillian Murphy, and Stephen Rea, talk about the play and where or what Ballyturk could be.
By Lucy Jackson, researcher in ancient theatre and Knowledge Exchange Fellow (TORCH, University of Oxford)
Many of us might not immediately know the plot of the play written by Euripides (on which Ben Power’s new version is based) but we may well have come across the figure of Medea in some form or other. This woman, a mother, an outsider to the culture she lives in and infamous murderer of her own children, has been revived and reanimated hundreds of times in the past century. Her story has been retold in operas, films, art galleries, abandoned warehouses and theatres. More frequently than we’d hope, we also see the story of Medea played out in real life; in mothers who find themselves in the midst of cataclysmic divorce, of abuse, of prolonged isolation or mental breakdown. The number of productions of this particular play in the recent past seems to point to just how hungry we are as a society to explore the forces that compel individuals to commit such atrocities.
Lars von Trier (1988)
The haunting and unsettling film of Medea, directed by Lars von Trier (1988), has made a significant mark on how we think about this story. In this version the natural world dominates; the huge skies, expansive deserts and stretches of water reflecting the heavy clouds above. Medea herself, like most characters in the film, barely speaks. Yet we see her connection to the supernatural forces in the world (she appears to be standing on water at one point) and her isolation is offset by shot after shot of her alone in the middle of a huge expanse of earth, water and sky.
Deborah Warner with Fiona Shaw (2000)
Deborah Warner’s production in London and New York (2000-1) made a clear decision to update the story to a contemporary setting. Fiona Shaw played Medea as a ravaged, volatile and utterly modern protagonist and the psychological damage the character had suffered and was still suffering from was devastatingly clear. While the murder of the boys often takes place off stage, in Warner’s retelling, the youngest son manages briefly to get away before being chased down on stage – a brutal sight for any audience.
Fiona Shaw in Medea at Queen’s Theatre, London, in 2001. Photograph: Tristram Kenton
Very recently (2012) the theatre company Headlong produced a Medea that toured widely in the UK and presented a broken family in the most updated setting – a bright and boxy suburban semi, a single child, and a friend of the family, Pam, taking on the role of chorus. Mike Bartlett who both wrote and directed this retelling consciously abandoned the kind of language often associated with Greek tragedy and the play was received almost as one would a piece of new writing.
National Theatre, directed by Carrie Cracknell with Helen McCrory (2014)
This summer the National Theatre will be staging the play for the first time in its history and the NT Live screening on 4 September will reach audiences around the globe.
This new production incorporates elements seen in some of these recent productions. It situates itself in a thoroughly contemporary setting while still evoking elements of the supernatural that saturate reimaginings such as von Trier’s film. But there are many places where something entirely new is being done. One rarely gets to see a chorus so fully and imaginatively integrated into the tone and narrative of a Greek tragedy as this chorus of women, here guests at the wedding of Jason and Kreusa. Added to this, Helen McCrory’s Medea is articulate, fierce and controlled, while never shying away from the psychologically bruised depths of the character. For this, the National’s first production of the play, a new Medea has been born.
Medea is playing from 14 July to 4 September. Book tickets here.
Broadcast live to cinemas on 4 September. Find your nearest venue here.
Playwright Polly Stenham (writer of That Face and Tusk Tusk) talks about her new play Hotel, how she got into writing and what advice she’d give to aspiring playwrights
Watch our full video collection on playwriting featuring Richard Bean, David Hare and Simon Stephens here.
Polly Stenham’s new play, Hotel, is playing until 2 August.
The Elephantom, by Ross Collins and adapted by Ben Power, opens in the West End this week. The Elephantom had its premiere at the National Theatre in December 2013 and is a wonderfully inventive piece of theatre, mixing puppetry, movement, dance and music to bring Collins’ magical picture book, about a little girl who is unexpectedly visited by a big blue elephant, to life on stage.
How was it staged?
Directors Toby Olié and Finn Caldwell talk about the creative process they went on in putting The Elephantom on stage from initial idea, to designing and making the puppets and how they pieced together all the different elements which make up the production.
Finally, we give you a montage of video clips from different stages of the creation process – from workshops to rehearsals and, finally, performances in the theatre.
The Elephantom is playing at the New London Theatre until 6 September. Suitable for everyone 3 years and over.
Pronoun by Evan Placey
Playwriting is a bit like childbirth. (And no, I’ve never given birth to a child so of course I can’t really know.) But you have this thing growing inside you, carry the weight of it around – fragments, ideas, bits of matter – that eventually come out into this living breathing thing. You have hopes and dreams of what it will become.
Normally you continue to nurture it after birth – through rehearsals, and rewrites, and working with actors, director, designer – before you let it go as a fully-formed thing who can independently carry on its way. And while you still think about it, and worry about it, and analyse the things you’ll do differently with your next child-play, you let it be.
But Connections is a different kind of play-rearing. Because once born, you hand it over. And then you suddenly reappear much later – like the absent parent arriving for the Sweet Sixteen birthday party – trying to make sense of this thing before you. And sometimes it’s achieved all the ambitions you had for it, and sometimes it’s become a different thing, not quite how you remembered it, influenced by the people around it in its development; but you love it all the same.
It’s been a real privilege to be that parent suddenly arriving to see what’s happened to Pronoun; to have 40 different groups of young people putting their own spin on this story; and mostly to know that 40 different young actors are cutting their teeth with the character of Dean, a young transgender man.
I wrote the play because I wasn’t seeing trans or gender nonconforming characters on our stages, and certainly not in plays for young people. I wrote it because I was tired of hearing our government calling for a ‘tolerant’ society, when, in the words of Dean, ‘tolerance is horseshit.’ I wrote it because I want to live in a society that embraces difference, loves people, appreciates their contributions – not one that tolerates them.
Richard Bean’s fast and furious new play is an anarchic satire about the press, the police and the political establishment. Billie Piper plays Paige Britain, ambitious young news editor of The Free Press, a tabloid newspaper locked in a never-ending battle for more readers.
Great Britain opens tonight at the NT and is playing until 23 August.
A look behind the scenes into rehearsals for Medea, Euripides’ powerful tragedy.
Carrie Cracknell directs this new production adapted by Ben Power with Helen McCrory in the title role and with music written by Will Gregory and Alison Goldfrapp. It is playing in the Olivier theatre from 14 July and will be broadcast live to cinemas worldwide on 4 September. Take a look at the trailer here.