What reasons might there be for a perfectly sane and strong woman to take her children’s lives? That’s the question, that grew out of studying Medea, that sparked Fall Prettier, the glittery, tuneful new production from Wet Paint. Co-creator Therese Ramstedt explains it all below. Have a read, then book your tickets
New international performance collaboration Wet Paint brings its first production, Fall Prettier, to The Space later this month, promising a wacky, brutal and glitter-dusted take on appropriation of women’s narratives. Time to book your tickets!
Like many recent Medea revivals, Pecho Mama has tried to make the audience understand Medea’s actions, but here, like with others, they fail in articulating this huge moment in the play. There is real promise in much of the show’s material though.
Nothing becomes Medea (or at least this version of her) as much as her entry into the world. Into a liminal space shrouded in smoke, summoned by a clarion call from the ether, an unknowable shape emerges.
Terence Rattigan’s best play stars Helen McCrory in an uncertain production that attempts an emotional update.
Every week, a group of regular, dedicated, independent theatre bloggers gather together for intelligent discussion “from the audience’s perspective” about plays and musicals they’ve recently seen in London. Lively, informed and entertaining. My Theatre Mates is delighted to syndicate the (still) As Yet Unnamed London Theatre Podcast (AYULTP). Shows discussed (with timings) in this week’s podcast: Medea – Almeida Theatre …
“I can unmake you the same way I made you. I write the story, remember?” Rachel Cusk’s brilliant vision of Euripides’ Medea for the Almeida transforms the barbarian witch into a modern-day writer: but, just as the ancient Medea’s spells had immortal force, so the new Medea’s power with words, particularly her fearless refusal to compromise on the truth, alienates and terrifies all those around her, and endows her with the ability to change her own destiny – at the terrible price of her sons’ lives.