‘Medea’ is a retelling of Euripedes’ Greek tragedy by Liz Lochead. Written and performed in Scots’ dialect, this sharp and brutal production centres around mother figure, Medea, as she loses her family and community. The National Theatre of Scotland are playing ‘Medea’ at the Hub on Castlehill until the 28th August. This is an immersive production with a standing audience, gallery seating can be booked in advance.
Medea is abandoned by her husband, Jason, who intends to marry the King’s daughter, Glauke. In the wake of this betrayal and facing exile with nowhere left to turn, Medea is torn over how she can ensure the best life for her three children. Driven by anger, hate, desperation and lust, Medea comes up with a revenge scheme. After a fatal wedding, what is she willing to sacrifice in order to protect her family?
Adura Onashile is astounding as Medea, powerful, haunting and terrifyingly relatable as a woman ostracised in a man’s world. A perfect example of a multi-dimensional mother, woman and leading lady.
The room crackles with electricity as she faces off against Robert Jack’s Jason. Jack’s performance as the cocky father who loses it all is heartbreaking, commanding the empathy of the audience as he transitions from man to lost boy.
Anne Lacey opens the show as the Nurse to Medea and Jason’s children, she warns of the heartbreak and torment in the household. Speaking in Lochead’s poetic Scot’s dialect, Lacey is immediately spell-binding. Adam Robertson as the manservant is harrowing in his recount of the fatal wedding, the detail and delivery is spine-chilling.
This production also features Stephen McCole who is commanding and iron-fisted as Kreon. His daughter, Glauke, is portrayed naive and cool by Alana Jackson which is perfect for adding fuel to Medea’s already burning fire of hate.
The chorus are a female presenting, diverse collective who act as a conscience for Medea throughout the production – supporting, guiding and challenging her decisions. They weave through the audience and line the sides of the catwalk platform, their collective voice is a haunting warning.
The whole production team should be commended for the staging of this show – Colin Grenfell as lighting designer, and Tom Piper on set and costume. The stage and surrounding framework mimic an oxidised or corroded iron, something once strong that has been worn down over time by it’s surrounding environment. The lighting continues these warm hues in Medea’s home and space, interrupted by an icy white glare as external characters enter from the doors at the rear of the theatre marching into the mother’s space.
Holistically this matches Michael Boyd’s direction as though Medea is ostracised from her society, it is the introduction of corrosive characters Kreon, Alana and Jason into her own space and home that drives her to breaking point.
The absolute pinnacle of the show is the end sequence where the vocal motifs of Jason, the Nurse and the Chorus interweave into a crescendo in the wake of Medea. Through Onashile’s portrayal and Boyd’s direction there is an uncomfortable sense of justice in the ending for the audience as we are gratified by the tragedy she leaves behind.
To conclude, ‘Medea’ is a thrilling, haunting and challenging production with a stellar cast and production team. This is an absolute must see for theatre and drama lovers, an immersive experience not to be missed.
You can still get tickets to the remaining shows running at 8pm at the Hub on Castlehill with relaxed and audio described performances also available.
Tickets available below:
Theatre Scotland 
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