THE LEGEND OF MEDEA
Medea was the daughter of king Aeeles and grand daughter of Helios the Sun God. She came from Colchis at the eastern extremity of
the Black Sea It was here thatJason in his famous expedition with the Argonauts came to claim the Golden Fleece. AeEtespromised to
give up the Fleece if Jason could perform a seemingly impossible task - yoke the fire breathing bulls of Hephaestos, plough the field of
Ares and sow the armed men of Cadamus. Jason was at a loss as to how to achieve this until Medeq smitten with love for him,
protected him wittt her sorceress'powers.
In retrrm, Jason made a solemn oath by all the twelve Olympian Gods thu he would neve,rdesert Medea and promised CI marry her and
return to his home with her.
Aegtes had no intention of losing the Golden Fleece and plotted the deattr of the Argonauts. Unaware of Medea's passion for Jason he
revealed his plans to her and she immediately led Jason to the Fleece and planned his escape.
The Fleece was guarded by a huge serpent, but with Medea's power fason was able to retrieve it and escape,taking Medea with him.
She, to assist the escape,murdered her own smaller brother and strew the pieces of his body on the water so that her father's fleet,
whilst collecting the fragmens for burial, would lose time in their pursuit of the fugitives.
Medea and Jason finally anived in Jason's hereditary kingdom of Iolcos the Argonauts w€re too weak a force to depose Pelias (fason's
uncle who had usurped the throne and set Jason the task of retrieving the Fleece). Medea planned to rectify the situation and
persuaded the dagghters of Pelias !o attempt, under her guidance, to rejuvenate their father. Medea demonstrated this by boiling an old
ram then surreptitiously re,placingit wi0r ayoung lamb. The unsuspectingdaughtersfooled by this triclq killd Pelias, cut him !o pieces
and boiled these.The result of this crime was the exile of fason and Medea and as a consequence they eventually anived at Corinth
(the sceneof Euripides' play).
There Jason put Medea aside and manied the daughter of Creon, king of Corinth. At this point the action of the play begins with the
result that in hgr jealousy and rage Medea kills Creon and his daughter with a poisoned robe and then kills her own children, wishing
to injure fason in every way. Finally with the aid of supernatural means she escapesand takes refuge with king Aegeus in Athens.
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her for a royal bride,
Medea,s nurse, sining alone outside the house, fswails her misuess's wrongs and sufferings. Jason has deserted
children's safety'
the
for
fears
nurse
daughter of Creon, King of Corinth. Medea's resentment is so passionate and frenzied ttrat ttre
The children
objection.
no
makes
Jason
They enter with their tulor who brings news. Creon intends to banish Medea and her sons but
from
heard
are
lamentations
and
are sent in with a waming to keep apart form their mother in her anger. Medea's cries of cursing
within and the nurse expressesher dread and foreboding.
betrayat - unfaithful husbands
The Chorus of Women of Corinth ente,r,distressedby Medea's cries. They advise resignation to Jason's
sake.
his
for
are common enough. Mede4 from within, still laments the crimes which she committed
man can always find
Medea comes out. She speaks of the wretchednessof a woman's lot; that of a deserted wife in particular. A
*I would rather stand three
life.
a
care-free
diversions outside his home but foolishly supposesthat his wife, with no such freedom, has
way of punishing her
times in the battle line than bear one child". She appeals !o the Chorus to keep her secret if she can find a
husband. They agree, convinced by the justice of her cause.
her. By cleverly appealing to
Creon enters to teu Medea ttrat she and her children are banished, frankly admitting that he is afraid of
can be done, she exults in
harm
his feelings as a father, she obtains the respite of a single day. When he has gone, confident that no
enemies?(At this point
her
killed
the possibilities of that one day's grace. But what then?Where can she take refuge when she has
she plans to kill Creon, the Princess and Jason.)
to their source.Justiceis
In their first Ode, the Chorus sing of the reverseof the order of things. The holy rivers flow backwards
given them in the past' Medea sailec
turned upside down. Now women will have a nobler re,puation unlike the one that male poets have
perished. Honour is to be
away from her home to a strangeland and now she is to be driven into exile. The power of an oath has
found no more in Hellas.
to be exiled in consequence'
Jasoncomes to face Medea and settle affairs. The fault is hers. She has abusedthe royal house and is
that she saved him; that
Nevertheless he will see that she is short of nothing. In the grear quarrel that follows, Medea reminds Jason
marriage is not a love-malch
she has no refuge to go to. He replies complacently ttrat it was amorous passion that ruled him. His new
gone hints that his
but a prudent st€p to securehis family's fornrnes. Medea furiously rejectsall offers of help and when he has
marriage may turn out disasfously.
no friend o pity her'
The Chorus sing of the destructivepower of great passion and the misery of homelessness.Medea has no city,
They condemn the ingratitude of man.
Troezen'Medea wins
Events take a new hrrn with the chancearrival of Aegeus, King of Athens, on his way from the Delphic Oracle to
in Athens, since
his confidence. He is childless. She promises to aid him with her potent drugs, and then appeals to him for sanchrary
departed,
has
as
he
soon
as
and,
altar
at
the
oath
a
solemn
swear
Aegeus
She
makes
of
Corinth.
the tyrant Creon is driving her out
"Now we shall be vicorious over our enemies!" Her plan is to humble herself before Jason and be reconciled
bursts out in tiumph:
exiled with
with him. The children shall bear rich gifs, a crown and gorgeous robe, to the Princess, and beg that they may not be
to punish Jason
ttrat
Chonrs
the
to
Medeareveals
Then
perish
miserably.
will
their mother. The gifts will be poisoned and the Princess
Jason.
to
fetch
servant
a
sends
and
is
resolute
she
but
her,
to
dissuade
honor
as he deserrresshe will kill her children. They try in
the Nine Muses'
The Chorus sings an Ode celebrating Athens, home of Wisdom and Beauty, where once golden-haired Harmoniabore
her heart
harden
mother
the
can
How
others?
to
all
a
defilement
children,
her
of
how shall this city of sacred rivers receive the slayer
to commit such a crime?
but
Jason enters and Medea convinces him that she is penitent and resigned. She summons the children to witness their reconciliation
the
children
with
goes
and
Jason
out
brought
g'ue
gifs
are
The
understand.
significance Jasoncannot
cannotrestrain the tearswhose
to ask for their reprieve from exile.
The Chorus realise that there is now no hope for the children. They foreseethe end: the destnrction of the princess,Jason's
awakening !o the wrong he has dong' the terrible grief of the mother.
The tutor entering with the children cheerfully reports the successof their mission and is puzzledby Medea's wee'ping. In apowerful
soliloquy Medea is torn between love of her children, her passion for vengeance, hetrfears that her enemies will triumph over her.
The Chonrs meditate on the sonows of parenthood.The childless do not know whether children are a blessing or a bane, and thus are
DIRECTOR'SNOTE
Our first ask, having again elected o perform the U.C.L. Greek play in English, was to decide upon a suitable translation. This not
only had to emulate the rich language of Tragedy without being tedious and stilted, but also do justice to the Medea as a live piece of
drama and not simply an intelligent recitation or heightened reading of a dramatic poem. With the exception of doctoring exclamatory
words and phrases - which in the original Greek are almost onomatopoeic - and the simplification of verbose parentheses,we found
that there was little cause for alterations to Rex Wamer's excellent translation.
There are many problems in producing a Greek Tragedy to a modern audience. How far do you stylise movement and expression under
the limitations of tragic masks and costumes?How can one avoid long speechesseeming sadc and deuimental to the fluidity of the
action? Is the Chorus an embarrassmentto the Modem Theatre and its audience?
After working on the staging of the Chorus we discovered that even though they might seemalien to a modern audience,with the aid
of well written music and choreography wittrin the Choral Odes and careful direction outside them the Chorus ceasedto be an
embarrassment,but instead enhancedthe dramatic tension of the play.
We have attempted to recreate as near as possible within the confines of a modern auditorium the orclustra and slene of a Greek
Theatre. The skcne was raised above the level of ttre orchcstra and the actors performing ruea was considerably smaller ttran ttrat of
the Chorus. Therefore to achieve this effect we have lowered the front portions of the Bloomsbury stageand allotted the Chorus three
times as much qpacethan the aclors.
Finally I would like to thank the all the cast and crew for their committment o ttre play, and to all those who have helped and
advised me.
PETER HILTON
PRODUCER'S NOTE
drama at the Bloomsbury
The Medeais the second U.C.L Greek play and I hope it will firmly establish an annual radition of Classical
audience without
to
a
modern
accessible
and
entertaining
is
both
which
a
form
in
drama
Greek
Theatre. Our aim is to present Ancient
our responsibilit
between
walked
be
to
a
tightrope
is
There
achievemenl
dramatic
Greek
the
of
compromising the fundamental elements
a living
but
exercise
academic
an
than
play
more
as
present
the
to
desire
our
production
and
as classicists to the authenticity of the
of a modern
facilities
the
technical
all
utilised
we
have
and
performed
in
uanslation
play
is
dramatic performance. Therefore whilst the
chorus.
and
staging
set'
costumes,
of
masks,
use
and
research
ground
our
in
theatre, we have also tried to break new
we have been able to enlist
All the cast and crew are members of the U.C.L. Classical Society and with the backing of the Bloomsbury
is
imporant to take sock
it
feel
play.
I
also
the
of
presentation
the
enhances
I
hope,
the help of professionals in certain areaswhich,
matinee performances'
our
of
each
after
discussions
holding
we
are
therefore
play
and
of our audiences' reactions and opinions to the
many of the
The Medeais part of the first London Festival of Greek Drama and U.C.L. studentshave been active in organising
further.
still
Drama
Greek
promoting
festival's events.I hope ttris o will berome an annual event"
own research into Greek theatre
Finally I would like to thank everybody who has given me advice and encouragementboth with my
play.
the
producing
in
encountered
problems
production and help with the technical and administrative
Eric Handley, Dr Olivt
With grareful thanks to: professor Pat Easterling, Professor M.M.Willcock, Professor Herwig Maehler, Professor
Godfiry, Jaquie
Martin
Vanags,
Patsy
AliciaToolos,
Packer,
Margaret
Taplin, Dr Robert Sharples,Mr David Raebum, Alan Griffiths,
the crew and cas
especially
and
staff
Bloomsbury
the
all
and
Valerie
and
kigh, Andy Amold, Kath Abrahams, Rina and Francis, Dollie
who have worked so hard.
PETER MEINECK
P q
d
@/
t..N
:.-s,
nQ
*The RoyalBankof scoilandplc
TEXTUAL ADVISOR'S NOTE
The Medea is a play of alarming directness'
It presentsa situation - that of the abandoned
wife who takesrevenge on her husband
desuoying their children - which has
by
been repeatedlytranslatedinto different
culturar
contexts.
No anempr ro pretend thar the play
deals with the remole world of antique
legend or with problems specific to ancient
Greek society can protect the modem playgoer
reader from the power of Euripides' scnrtiny
or
of human action and passion. But Medea
is not only, or mainly, a domestic drama:
poses unsetoing questions about society
It
also
at large' For the Athenians of 43rB.c.
there must have becn something remarkable
disturbing in ttre presentation of a foreign
if
not
enchantressas inteuectuaily, and in some
ways even morauy, superior to the great
hero Jason' who appears less as the intrepid
Greek
leader of the Argonaurs and a more as
a
self-serving breaker of oaths. Jason,s claim
have given Medea the benefis of civitizition
to
turns oo, a il highly quesrionable,and
Medea,s penetrating critique of Greek sociery,s
double standardfor men and women
is equally thought-provoking. yet it is
no lessshocking to equate,as Medea does,
killing of her own children with acts of
a mother,s
raditional male heroism, and Euripides
has no easy answersto offer. Nobody wins,
action is commended; but the play achieves
nobody,s
an equilibrium of sorts by evoking a situation
of intense horror in languageof great
rhetorical power and poetic density.
Medea is eregant as well as appalling.
For the modem reader or spectatorone
of the most puzzlngmoments comes close
to the end when Medea not only asserts
over Jasonbut announcesthat she will
her power
found a cult of her murdered children in
the
sacredprecinct of Hera at corinth. This
example among many of the fascinating
is one
elusivenessof Greek tragedy: whenever
we think we are on the way !o understanding
meet striking instancesof its strangeness'
it we
which remind us to be wary of critical criches.
Stageperformance is one of the best ways
testing our inlerpretations and acknowledging
of
both the mystery and the familiarity of this
remarkable medium.
PAT EASTERLING
PROFESSOROF GREEK
UNIVERSITY COLLEGE LONDON
THE MEDEA OF EURIPIDES
translatedby Rex Warner *
CAST OF THE MEDEA
Medea
Jason
Creon
Aegeus
Messenger
Nurse
Tutor
Julia Hagan
Manin Durkin
Tim Colwell
CasparAuchtelonie
JamesMillar
TessaBembridge
Adam Warner
Medea'sChildren
Deborah Car
Helen Ryder
Malcolm Hyatt
Keith Wallis
Chorus Leader
Chorus
JaneCarter
Alice Sachs
Frosa Attard
Tricia Grogan
Shani Allen
Cindy Graham
JaneAlexander
Christianne van der Lee
Jackie Dowthwaite
Dipti Patel
RebeccaLambrianides
JacquelineSelby
Hand Maiden
Marie-Chantal Isoz
Thanksro: Alan Griffiths,Rina,Francis,Tim Colwell,ChristineOqklgy'
Murgrrt Meineck,Bell FarmPrimarySchool,All the BloomsburyStaff'
Dollie& Valerie
The play will run for approximately oneiour and fifteen minutes. After
the riratinee and mornin! performancesthere will be an gPPortunjty to.
discuss aspectsof the pr:oductionwith the Director, Producer and membrs
of the cast and production team.
{c published by Chicago University Press Euripides 1, Green and Lattimore
I
Director
Producer
Textual Advisor
Musical Di rector/Choreographer
I
J
PeterHilton
PeterMeineck
Prof. PatEasterling
Anna Philpott
PRODUCTION
Mask Maker
CostumeMaker
Design
Lighting Designer
ChorusMasksandCostumes
AssistantProducer
ProductionTeam
Photographer
ProductionManager
StageManager
ff#jfrffiIVIanaeer
SoundOperator
Lighring Operator
Setbuilt by
Setpaintedby
Slaves(StageCrew)
Front of House/Back Stage
Qlynn McKay
Kate Whitehead
PeterMeineck
WendyMitchell
Ian Armstrong
JaquiR LeighShaniAllen
Oliver Foot
TeestaAustin
Katie Bateman
SandorBurslem
DeborahCooper
Mike Gosling
DaveHickman
Philip Miles
Adam Warner
Kristin Leeson
PeterMeineck
Oliver Foot
Philip Miles
RanjulGoswani
SandorBurslem
Mike Robens
Slavesof Dionysos
ProductionCompany
Alison Wilson
The PrincepsMaximus
The High Priestof Dionvsos
of the VestaiVirgins
fhe.fKee^ner
Ian
the Archaeologist
Justinthe Geologilt
DaveHickman
JuliettaPhaff
JulietOlins
ClaireLester
SophieClark
Katie Pitt
PETER HILTON . DIRECTOR
Peter is 20 years old and a second ye-il atU.C.L taking a B.A.(Hons) in Classics.He played a member of the chorus in last yefr's
production Tlv Aganumnon and has also played Kenickie in Greaseand Sky Masterson rn GuysAnd Dolls - both at the Bloomsbury. Hr
loured extensively in America n OhWlnt A Lovely War and was a member of the National Youth Cathedral Choir. As a member of the
National Youth Music Theatre he toured as Bill Sykes in a national production of Oliver. Peter is also co-founder and director of The
Silver Cloud Theare Company which has taken part in the Edinburgh Fringe Festivals from 1983 - 1987. In the last silver Cloud
production he played Dr Watson in the Final Revelation af Slurlock Holmes. Peter is also secretaryof the U.C.L Music Society.
PETER MEINECK . PRODUCER
Peter is 20 years old and a second year student at U.C.L, taking a B.A.(Hons) in Ancient World Studies. He co-produced and was the
lighting operator on last year's Greek play,The Aganunnon and worked on researchinto masks and costumes.He also produced and
organised the Agamemnon study days in the British Museum in July 1987. He has worked u the Bloomsbury as a set builder and sound
technician on Arsenic And Old Lace, ast^ge technician on the Bloomsbury's Christmas show SfnDad md was the publicity managerfor
Guys And Dolls. Peter is also Presidentof the U.C.L Classical Society.
ANNA PHILPOTT - MUSICAL DIRECTOR / CHOREOGRAPHER
Anna is 22 yearsold and graduatedwith a B.Sc.(Hons) in Mathematics from U.C.L. in 1987. She was a member of the Kent Wind Band
and The Kent County Youth Orchestra She plays the flute, guitar and piano. Anna was musical direcor for the U.C.L. Music Society's
productions of.Grease, Guys And Dolls and the 1987 dance show Gol Rhythm at the Bloomsbury. She has worked as a musical director
in America - working on various productions which included The Jungle Book, Oliver, Godspell, Sowh Pacific andPal Joey. Anna also
trainedin danceat ttre Moya Kennedy School and performednCabaret,Got RhythrnandSinbad.
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MASKS, COSTUMES AND SET
MASKS
in many ways: they remind the
Masks and costumes were an essential part of Tragedy and reflect the essenceof Greek Thealre
they accentuatethe main themes of
audience of the religious significance of their drama (with its roots in the worship of Dionysos),
"types" and their own particular falal flaws and they demonstrated the inventiveness of the
tragedy with its clearly defined character
accurately as possible for we saw this as
Greeks for theatrical equipment. Therefore we decided to recreate the masks and costumes as
a meansof effectively conveying the spirit of Greek tagedy to our audience'
throughout the Fourth cen$ry B'C' We
The Medeawas first produced in 431 B.C. but was revived many times and in different forms
The seven actor's masks (as opposed to
therefore decided !o use the evidence from this period in designing our masks and costumes.
have all been individually cast from the
those of the chorus) have been made by a professional mask maker Glynn McKay. They
the Fifth and early Fourttr century B'C'
aclor,s / actress,own face and modelled to fit comfortably. All the evidencethat datesfrom
were stylised and emphasised' Glynn used a
suggests that a naturalistic affect was the aim of the mask maker, although basic features
masks were probably constructed from linen'
sylastic based material and real hair implants !o recreate this effect. The original Greek
and stiffen it with a vegetable or fish based
cork or wood. one method of ancient mask making was to lay linen in a terra-cotta mould
(skull cap) which disguised the back of the actor's head and fitted comfortabiy'
glue. Hair was then attachedto the SakJ<os
in a modem production - not only
We do feel that well made masks work dramatically in a Greek play and can be extremely effective
home the essenceof their character to the
do they seem to alienate the actor into a mythological world but their fixed features punch
must face forward or dramatic effect
audience. of course acting in masks does dictate c€rtain principles the actor, when speaking,
emotions and expressions which the
and audibility ile lost. Also, accentuatedand stylised gesticulation is vital to emphasisechanging
static mask cannot show.
COSTUMES
As with our masks, our costumes are based on evidence gathered from the Fifth and Fourttr centuries B.C. Greek tragic
costume was
essentially a long sleeved flowing robe and was always elaborately decorated. This type of costume was never wom
in everyday life the distinctive long sleeved robes were exclusive to theatical dress, their purpose being more than simply decorative.
This t1ryeof
garment covered the whole body and, coupled with the mask, enabled the all male cast 1pplay female
roles.
The coshrmesfor this year's production have also been made professionally by Kate Whitehead. Many of the designs
have been adapted
directly from Greek vasesof the period and we hope we have been able to capture the spectacleand splendour of Greek
tragic costumes.
THE SET
This year we have decided to reconstruct a Greek thealrical set of the early to mid Fourth century B.C. We found this tlpe of design
provided the best backdrop for the action of.Medea,representing Jason's house ar Corinth. It seemsGreek soenebuildings were
temporary structures during this period and were built up against a back wall of an existing building or slotted into post holes (which
can still be seen in ttre remains of many Greek theatres).It was not until the late Fourth and Third centuries B.C. Oratthe scene
buildings became permanenl Greek scenebuildings followed the same basic form - a long, low, two storied structure with three doors,
and occasionally with a portico. This strucnrre eventually became incorporated into the Roman Scaenae Frons.
Although Ancient Greek producers had to use the same style of set for all their various types of productions, the evidence strongly
points to the ample use of movable sceneryand painted flas to suggesta [email protected] only scenechange rn theMedeais also one of
the most difficult soenesto stage in Greek drama - the chariot scene at the end of the play - when Medea is flown away by the
chariot of Helios. This scene demonstrates the mastery of Euripides in technical achievements. He leads the audience inlo concentrating
on the central doors of the set (no doubt they expect ttre naditional Ekkyktemascene)and then produces a flying chariot high above
them. How this was stagedis a controversial point probably not on a Mechane but a running plafform behind the upper parts of the
set.
In tackling this scene we have used the modern technical attributes of the theatre to the fuU in keeping with the inventive spirit of
Euripides and seeking to induce the samereaction in our "more technically sophisticated" modern audience as Euripides sought in his
audienceof 431 B.C.
PETERMEINECK