theatre / on her metal: paul taylor on diana rigg in jonathan kent's striking medea at the almeida - sliding wall panels

by:EBUNGE     2019-08-20
theatre / on her metal: paul taylor on diana rigg in jonathan kent\'s striking medea at the almeida  -  sliding wall panels
One of the main ways Jonathan Kent's powerful Medea product will likely exist in memory is by tapping the sound of metal.
Peter J. Davidson's set is located before and after the tragedy of Europe, a huge wall of rusty sliding panels that reminds you of some abandoned warships.
As the play went along its tragic process, the plates were hit quite a bit.
For example, when she faced Jason, her husband took her to Greece and then abandoned her for another bride, which sounded like a disturbing variant of those bongs on the 10-point News, to emphasize angrily that she recalled everything she had done for him: to kill the dragon guarding the golden wool;
Cheating her father.
The terrible death that caused his uncle to wait. In a tit-for-
An imitation of her impact-style rage, Tim Woodward's sneer, defensive Jason gave the metal a man when listing the reasons he thought she was getting more than she gave
Mainly, she was able to leave a savage home for civilized Greece).
His behavior is an unpleasant, upside-down show-off that he sees as his dominant male power.
Coincidentally, the two great revenge heroines of Europe attacked London at the same time.
The other is Hecuba at the door, reviewed here last week)
Both were given life in a huge performance.
There, the enslaved, sad Hecuba began to be the object of pious mercy, alienated by sorrow, and eventually slaughtered the children of the enemy, medea was a frustrating vague victim/villain from the beginning, driven to murder her little boy, though saved by her grandfather Sun
The hair was tied to the braids, and her stiff face was parchment --Pale blood
The red dress, ornate conveying the strong, sensitive pride of a foreigner who would rather put everything down than tolerate the contempt of the person she hates.
She burned all the bridges for Jason, so where else could she go?
On the other hand, she expelled herself by threatening.
There is a sparkling black comedy that brings out the snobbish of Medea while the running water of the Jungle (
How could Jason abandon the Sun's granddaughter for a girl whose ancestors were sisyvers, she asked very snobbish)
She succeeded in sending a signal to the injured wife, rejecting the wife, but did not underestimate the hard-to-calculate side of the heroine.
Rigg's Medea tore fiercely between maternal love and desire to bring Jason the greatest pain, and suddenly registered with a wonderful, disgusting calm the fact that all the pain is meaningless
For what she has done, her son is dead;
So she must kill them in front of the enemy.
The most impressive feature of the excellent ruthless portrayal of the hostess and Rigg is that she did not try to hide her true identity.
"I know what I'm going to do," she said in Alistair Elliott's eloquent new translation . ".
My inner anger is stronger than my sanity.
The temptation to seek asylum in illusion was met with a terrible resistance.
When she went to perform the baby killing, the singing chorus of three black women
Dressed farmer dement chirps jab, saying that the gift of the feeling of speaking jumps from one to the other in turn.
For the chilling effects, the last confrontation between Medea and Jason is hard to improve.
When he hit the ball frantically on the metal wall, two rows of plates slammed down and swayed on the rope like a corpse after hanging.
Yale Xuan, Medea is revealed, bloody-
Pale, out of reach, exciting, still full of obsessively hatred, hurting Jason's heart at a clearly horrible price.
The Almeida Theatre in London N1 lasted until October 24 (Box office: 071-354 4404).
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