Reviewed by Judd
Hollander
Director Simon
Stone has staged his new adaptation of Euripides' classic revenge story Medea, now
at the Brooklyn Academy of Music, on a white background. Bob Cousins’ set being
a literal blank canvass as it were. The idea apparently to strip the piece down
to its bare essentials, thus providing a penetrating look at the tale itself.
Stone previously putting forth a similar premise in his terrific production
of Yerma, seen in New York
Anna (Rose Byrne),
a once-respected research scientist in the pharmacological world, has just been
released from a treatment center after being sent there for trying to kill her
husband, Lucas (Bobby Cannavale). Confident in her certainty that she is now fully
recovered, Anna is eager to pick up where she left off before being sent away.
She all set to move back in with Lucas and their two children, Edgar (Jolly
Swag) and Gus (Orson Hong). She's also extremely anxious to resume her career -
despite being barred from doing any work whatsoever in the medical field. A
fact she is well aware of and something which her former boss Christopher
(Dylan Baker) reminds her.
The more Anna tries
to return to her old life, the more devastated she is to realize things have
moved on without her. Lucas having since begun a relationship with
Christopher's daughter Clara (Madeline Weinstein). One that has developed to
the point where she has moved in with him. Anna's reactions as she refuses to
accept these new realities show quite clearly how far she is from anything that
could be considered a full recovery. Caught in the middle are her two children,
who have conflicting loyalties to their parents; as well as to Madeline, who is
trying very hard to have her own life with the man she loves.
Rose Byrne and Bobby Cannavale in Medea. Photo Credit: Richard Termine.
The story of a
woman scorned is one of the oldest tales in history. Stone commenting in the
program notes how this tale didn’t originate with Euripides; rather he strongly
embellished what already there. Stone now attempts to do the same by adding his
own spin to the material. While Stone does succeed in moving the work into the
modern era – via the use of cell phones, video cameras and the like - his
efforts ultimately cause the core elements of the work to become diluted.
The Euripides tale
had Medea left to her own devices by a husband who essentially
tossed her aside to marry someone else because it was politically advantageous for
him to do so. Medea then enacting a horrible vengeance in return. While the
same premise is still in play here, Stone colors the tale by making Anna a woman
with definite mental issues. Ones she is unable to deal with. Thus, while
clearly nursing a huge amount of anger at her husband, who is certainly no
angel, Anna is given something of an out by not being totally responsible for
her actions.
Further complicating
matters is the fact that Anna is obviously not ready to be released from the
place she was confined. A situation which causes one to wonder how she was
cleared to return home in the first place. Or why her social worker Elsbeth
(Jordan Boatman) would not call her supervisor when she witnesses some of
Anna’s subsequent actions. Especially when she admits to having mixed alcohol
with her medications, and also not remembering exactly how many of her
prescribed pills she has actually taken. This apparent failure of those
responsible to see the ticking time bomb Anna has become could be plausible
were Stone trying to present an indictment on the country’s healthcare system.
But as that does not seem to be part of his equation, the entire premise of the
story is severely weakened.
Dylan Baker and Rose Byrne in "Medea". Photo Credit: Richard Termine.
There are also points
where the audience gets the opportunity to see video close-ups - via a camera,
usually carried by Edgar - of the action unfolding on stage. Including one of
Anna’s face when she says how she is now perfectly fine. Her expression clearly
showing something different altogether and causing the entire moment to descend
into camp as it provokes laughter from those in attendance.
The story does turn
more serious as it progresses. Anna’s last message to Lucas particular quite
chilling. Even as her final actions show her to be a mother with a deep – if
very misguided – concern for her children. It also important to note that
almost none of the characters are totally innocent. The entire play a warning
about betrayal, loyalty and how one reaps what they have sown. Yet the show’s
ending lacks an overall visceral punch, and winds up feeling almost lyrical in
its execution. Instead of something that could have been much more emotionally
gripping.
Byrne gives an absolutely
brilliant performance as Anna. Someone continually on a razor’s edge of sanity
as she fights to regain all that she lost in the wake of her mental collapse.
Though her continual fixation on getting back to the way things were, instead
of learning to accept what they have become, leads to her undoing. As well as
that of everyone around her.
Rose Bryne and the cast of "Medea". Photo Credit: Richard Termine.
Cannavale does a
wonderful job with the role of Lucas. At first, a seeming long-suffering
husband, he quickly turns out to be something of schemer. He having ridden
Anna’s professional coattails during their time together – the two first met
while working at the same facility - and he also apparently taken credit for some
of her discoveries. Lucas now has hitched his wagon to Madeline. Thus ensuring,
he assumes, a rosy future both in a personal and professional sense. Lucas
is also quite wishy-washy when it comes to making any sort of decision – such
as explaining to Anna the facts of his new relationship - unless pushed into it
by someone else.
Weinstein is fine
as Madeline, a woman who only wants to begin a new life with Lucas and his kids.
Baker is excellent as Christopher, a true materialistic bastard and someone not
above using anything or anyone – including his own daughter - to
consolidate his power base and increase his company's bottom line. Swag and
Hong are fine as Lucas and Anna’s children.
Medea is a
character who never needed a crutch to justify her actions. That Stone does so
here with Anna, in perhaps an attempt to make the piece more well-rounded or more
palatable to a modern audience, only serves to weaken the character, and the
overall tale.
Also in the cast is
Victor Almanzar.
Featuring:
Bobby Cannavale
(Lucas), Rose Byrne (Anna), Gabriel Amoroso/Jolly Swag (Edgar), Emeka
Guindo/Orson Hong (Gus), Madeline Weinstein (Clara), Dylan Baker (Christopher),
Victor Almanzar (Herbert), Jordan Boatman (Elsbeth).
Medea
Written by Simon
Stone after Euripides
Directed by Simon
Stone
Set Design: Bob
Cousins
Costume Design: An
D'Huys
Music & Sound
Design: Stefan Gregory
Lighting Design:
Sarah Johnson
Video Design: Julia
Frey
Casting: Jim
Carnahan, CSA
Costume Associate:
Fauve Ryckebusch
Production Stage
Manager: David Lurie-Perret
Tickets: 718-636-4100
or www.BAM.org
Running Time: 80 minutes, no intermission
Running Time: 80 minutes, no intermission
Closes: March 8,
2020
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