Fitting the modern age to the classic Greek form - Review

Passion and power are two elements of Greek drama which have a lasting effect on an audience, in particular when they are personified as the strong human emotions of characters which dominate the stage because of their plight. Medea is undoubtedly such a character type, for her ire and despair gave way to loathing and revenge while being rooted in love and jealousy. What Euripides managed to achieve when he gave the characters of Medea, Jason, Glauce, the princess of Corinth and Creon, her father, dramatic life, was a timeless tragedy whose moral and emotional significance has not waned - even in this day and age. Having been to see Teatru Dù's production of Medea in Maltese last Sunday, I must say that the emotional strength which I expected of such a play was duly delivered.

The script was an adaptation of Oliver Friggieri's excellent Maltese translation, and as can be expected, there was simply nothing to fault there. True, I have often wondered how characters in the throes of such boundless passion can manage to be so eloquent while being confrontational, but I'm more than willing to suspend my disbelief if only to enjoy the Maltese language being used so well - such plays serve as a reminder of how truly malleable and expressive our native language can be if used in the right way. The tragedy was performed by six actors, several of whom played multiple parts. Euripides was originally criticised for having allowed a single character, Medea, to take on the greater part of the human suffering in order to expose it as an aspect of human nature, rather than the Chorus, as was the convention in Greek drama. Indeed the members of the chorus doubled up as several other characters while the musicians helped to bolster the atmospheric and at times anticipatory, rhythmic tone usually set by repetitive choral stanzas, as well as highlighting the tense feelings of anger, jealousy and betrayal.

A prologue introduced the play's themes by giving the audience a stylised taste of Jason's quest until the development of the action at the start of the play. I liked the creative take on the presentation of the story in this section - taking its inspiration from traditional story-telling and puppetry, the actors mimed the actions which were narrated with great gusto by Magda van Kuilenburg. Ms Van Kuilenburg executed her multiple parts well, portraying a strong presence on stage which engaged the audience without being overbearing. I particularly enjoyed her portrayal of the Oracle, who tried to curry favour with the audience while maintaining her own sardonic opinion of the events she was recounting. This contrasted well with her gossipy servant, and imposing, powerful Creon. Victoria Vella's Servant got on with her fellow servant like a house on fire, giving a credible performance, and it has got to be said - the costumes she designed specifically for Teatru Dù's particular technical interpretation of the play, were extremely effective.

Simone Spiteri's portrayal of the title role, Medea, was a strong and engaging one. She commanded the stage and never once let the audience think that there was a glimmer of weakness about her character. Ms Spiteri gave the audience a woman who is desperate to exact revenge on her lover Jason, who has betrayed her for King Creon's daughter, Glauce. Even though Jason himself insists repeatedly that it is a marriage of convenience, Medea will not be appeased - and why should she? Hell hath no fury like a woman scorned. Her lines were delivered like cut glass - each one enunciated with a clarity and vehemence which left the audience in no doubt of her vengeful and dark intentions - acts which were terrible enough to culminate in the murder of her own children after having murdered Glauce because she could not bear to look at them without being reminded of their father. The entire cast had a considerable amount of technical performing to carry out - from mime to stylised silhouettes and Ms Spiteri's directorial skills showed an intelligent interpretation of the text and the entire performance was extremely tight - evidence of it having been very well rehearsed.

Dominic Dimech gave a balanced performance as Jason but tended to be slightly overpowered by Ms Spiteri's Medea; however, the tension between these two characters undeniably made its presence felt. Franica Pulis and Kristjana Casha, who also played multiple roles - from two women of Corinth who take up Medea's cause and support her actions, to members of the Chorus and Medea's two children, also gave laudable performances. Their belief in Medea's right to justice is counterbalanced by their genuine concern for her children's welfare and they are paralysed by horror while the pace of events prevents them from taking action.

Misery engulfs Medea after the wrongs against her have been avenged. She becomes once again a helpless and almost deranged woman who is carried up to the gods to atone for her sins. Having been presented with such a series of events, we are allowed to reach our own conclusions as to whether Medea deserves our disgust and contempt or whether she is to be pitied; and this is what makes it a truly powerful play whose relevance in terms of the human emotions which it showcases is as fresh and evocative today as it was in classical times.