Jason (Adam Levy) and Medea (Rachael Stirling) in Medea. Photo: Manuel Harlan.
Medea is one of the most fascinating and complex characters in the whole of Greek mythology. She is the ultimate heroine, villain and victim, all rolled into one.
A vase by Ixion Painter showing Medea killing one of her sons, approx. 330 BC (Louvre, Paris).
The tragedies that survive from ancient Greece prove to be inexhaustibly renewable sources of creative energy. And Euripides’ Medea is quite possibly the most high-voltage, the most influential of all. From Seneca to Pasolini and Lars von Trier, Corneille to Heiner Mueller and Cherubini (and Callas) to Yukio Ninagawa, Grillparzer to Martha Graham …. Mike Bartlett’s new comi-tragic setting on a small-town housing estate crackles with the tension and blood-chilling shocks that jump across two-and-a-half millennia from Euripides’ still-live wires.
Tragedy is dead. At least, that was George Steiner’s verdict in his 1961 book, The Death of Tragedy. Steiner argues that tragedy no longer has any power in modern society, because modern society bases its understanding of itself in rational thinking. Tragedy can have no resonance in a society that believes in a just and reasonable god, nor in one that believes that man alone determines his destiny through the power of his own reason.