“I don’t think you realise how extraordinary your anger is”
So Rupert Goold closes his #AlmeidaGreeks season by directing Kate Fleetwood, who just happens to be his wife, in the title role of Medea. And as with Oresteia and Bakkhai, a new version has been commissioned from an unconventional source, this time novelist Rachel Cusk. So we leave ancient Greece for modern-day London, Medea becomes a writer whose actor-husband Jason has left her for a model and the chorus becomes a garrulous gaggle of pashmina-wielding yummy mummies as concerned with the calories in croissants as the parenting of their peer.
Cusk frames her play essentially as a series of conversations by which Medea finds herself pummelled, in search of a self she hid for 15 years of marriage and is struggling to relocate post-divorce and where Fleetwood excels is in showing the range and depth of her despair. Lacerated into silence by Amanda Boxer’s caustic nurse, lambasted by children who won’t leave her alone (Louis Sayers and Guillermo Bedward both excellent at this performance), left behind by Justin Salinger’s Jason with whom she argues thrillingly viciously, the intensity is immense and Fleetwood sustains it throughout. Continue reading “Review: Medea, Almeida”