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Reviews round-up for Medea at the National Theatre starring Helen McCrory

Helen McCrory in Medea

Helen McCrory in Medea

Medea opens tonight (14 June 2014) at the National Theatre.

Carrie Cracknell follows her multi-award winning production of A Doll’s House by taking on Euripides’ powerful tragedy Medea – in a new version by Ben Power.

Helen McCrory returns to the National following Last of the Haussmans to take the title role of Medea.

Cracknell is including music by Goldfrapp’s Alison Goldfrapp and Will Gregory in a hugely anticipated production.

Reviews of MEDEA

Reviews of the press night (21 July 2014) to be added shortly.

EARLY REVIEWS (Note: these are of preview performances, which is a practice not condoned by most legit press)
Reviews of preview shows to be added shortly.

Baz Bamigboye in the Daily Mail
“A magnificent Medea… [Helen McCrory’s] Medea is magnificent, and director Carrie Cracknell’s modern-day staging, and Ben Power’s adaptation, puts Medea’s miseries, and her subsequent actions, in context.”

LINKS

National Theatre on WestEndTheatre.com

REVIEWS ROUND-UP

STAR RATING Evening Standard

“Helen McCrory is on exceptional form as Medea, the most disturbing of Greek tragic heroines. The character tends to be portrayed as a she-devil, a murderous manipulator who’s wild with love and rage. McCrory powerfully conveys Medea’s bitter destructiveness, while also suggesting the vulnerability of a woman shunned by a society where she’s seen as a cunning foreigner.”

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STAR RATING The Daily Telegraph

“There is strong work from Martin Turner as Creon, who is scared to death of Medea and Dominic Rowan as the poignantly childless King of Athens, who offers Medea refuge when she needs it most. Michaela Coel as the Nurse powerfully voices the audience’s feelings of apprehension and dread, while the music by Will Gregory and Alison Goldfrapp remorselessly ratchets up the tension.

At the end of this thrilling and merciless production you leave the theatre feeling both appalled and strangely elated – the sure sign that a tragedy has hit its mark.”

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STAR RATING The Guardian

“After her success wth Ibsen’s A Doll’s House, Carrie Cracknell now turns her directorial attention to an even more wronged heroine: Euripides’s Medea, who avenges herself on Jason by murdering their two children. But the virtue of the production and Ben Power’s new version is that they avoid quasi-operatic grandeur to present us with a recognisable human being who is alive with contradictions.”

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1 Review

  1. anthony j dunn
    08/08/2014 at 5:40 pm — Reply

    This updating of classical Greek tragedy doesn’t work. The audience must think that the action is from remote antiquity but is relevant to today. The Chorus is crucial as commentators and decribers of the action. The director has organised them as as high school girls at their first prom and then as booty shakers. They are ridiculous. McCrory was a fine Rosalind some years ago but she hasn’t the stature to project a heroic madwoman. She’s just a jealous wife. Greek tragedy for our age should played with hieratic solemnity. It’s no place for pop music

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