The tale of Medea presents a paradox in contemporary times. Euripides, Ovid, and Seneca cast her as a villain who manipulates Jason, the Argonaut, to achieve her ambition of becoming Queen. Playwright Olivia Buntaine has reimagined her as a goddess who has been stolen from the canon of powerful women. MedeaMedeaMedea by Theatre Evolve presents her as the Maiden, Mother, and Crone in Pagan, Wiccan, and archetypal philosophy. Theatre Evolve has assembled a good cast to portray how patriarchal mores and behaviors have cast women as hysterical and needy, without control of their emotions. This redemption of Medea is a vivid retelling of the power of emotion, and what has been seen as hysteria can also be a purging of pain to let the matriarchy overcome subjugation.
MedeaMedeaMedea is directed by Anna Rachel Troy, the artistic director of Theatre Evolve. The play is undoubtedly an inventive use of Mother, Maiden, and Crone. These elements and phases of power are supposed to be contained within Medea; Buntaine has chosen to personify them as separate characters supporting qualities of the triad. Mary Eliza Willingham plays Medea, and keeping that fever pitch of angst and anger is difficult. The fine line between emoting and histrionics initially blurs with Willingham's performance. She controls it for the rest of the play, with Medea's character leaning into her more subtle feral nature.
Riley Lucas has the dual role of Messenger of the Argonauts, and as Jason, the man who retrieved the golden fleece and then walked out on Medea and his sons. Lucas turns from a likable guy persona to a glowering egotist using just his face and small motions. It was cold-blooded for Jason to use Medea's talent as a sorceress to get the golden fleece, impregnate her twice, and then run off to have a legitimate marriage with a princess. Lucas' portrayal is a mix of wealthy scion and arrogant tech bro. Jason is unlikable and manipulative, but the story has not been told that way in past iterations, where Medea was a foolish mistake and an unfit mother.
Buntaine has written the triad members separately but still as parts of Medea's persona. Marley Doakes plays the Maiden, who is fecund and willing to fall in love. Doakes is good in the role. Her interaction with the Messenger is sweet, but she does not play the clueless and unwitting naif role. She makes the Messenger fill her in when Jason marches toward Medea's home. Lucas plays the naive idiot dazzled by love or lust. It is a fun transition to watch as costumes are not changed, and dual roles are hard to pull off.
Amber Dow plays Medea's Nurse and Crone persona. Dow is not given much to do except worry until the later part of MedeaMedeaMedea. The Crone is supposed to be the most powerful of the Triad, but the direction of the writing has her in matronly concern mode. I thought Dow's character would help concoct Medea's revenge or something else with magic. However, Medea slays her friend, the dragon, to allow Jason to get the golden fleece. She has her brother chopped into pieces, also for Jason's benefit.
The best part is when the three unite in final revenge against Jason's dastardly behavior. In the original story, she poisons the robes of King Creon and her rival Princess Glauce. Writer Buntaine has Princess Glauce self-immolate by wearing a dress sent as a gift from Medea. That is a whole new level of being aware of Greeks bearing gifts.
Overall, MedeaMedeaMedea is a good play that needs some polishing. The wailing and crying symbolize the pain of having to sacrifice your children or of being betrayed by someone you trusted. However, some adjustments are needed for the black-box setup of Edge Off-Broadway. The play opens with Medea's descent into madness, but some subtlety would be helpful. I like the simple scenic design by Rose Johnson and the lighting design by Ellie Fay. The technical prowess proves my point that less can be powerful.
MedeaMedeaMedea is a story for our time, in which women and all non-white males need to step into their power. Buntaine's adaptation evens the score but could use some tweaking on the Triad concept. There are three phases: Maiden, Mother, and Crone, and the idea of having separate actors portray them is excellent. It would be great if they all had a veiled, sinister side that peeked through their characters. It wouldn't be as jarring when they combine to cast the murderous spell to rob Jason of his lineage.
I recommend that you check out this fresh look at women's empowerment and the perception of women as having power. MedeaMedeaMedea is playing through June 21 at the Edge Off Broadway, 1133 W. Catalpa Ave., in the Edgewater neighborhood. Running time is 90 minutes. For tickets and more information, please visit https://www.theatreevolve.com/
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