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Her psychology is studied and debated endlessly.Ĭracknell's direction and McCrory's performance stress on the most human aspects of this superhuman character from Greek mythology, whose formidable ancestors include Helios, the Sun God. MEDEA has been read in multiple ways and in our modern world too she hovers on ever so silently in the worst imaginations of men who come to fear their women. She is a witch, or she is just an ordinary woman whose fury has been unleashed when her husband takes on another wife. She has been shown as the oppressor as well as the liberator. She has been depicted as evil personified and as the supreme woman who is above the injunctions of morality prescribed by society. Medea has been reviled as well as praised.

In the most terrible outcome of her devastating plan, she does not spare her own children. Her Medea conveys in equal measure the blistering agony of her soul and the calculated revenge she plots. In this modern production directed by Carrie Cracknell, the title role is portrayed by Helen McCrory, who is superb. One, that Greek tragedy is inevitably and deeply cathartic, and two, MEDEA, a play that the great Greek dramatist Euripides wrote in 5th Century BC, is one of the most searing portraits of a powerful woman who seeks revenge (or more likely justice) for the wrong done to her. Watching the screening of the National Theatre's (London) production of MEDEA as part of the NCPA-NT Live collaboration, two things once again struck me.