Euripides' Medea by Northern Broadsides

In a new version by Tom Paulin

Everyman Theatre, Liverpool

February 23-27

 4/5

By Jeanette Smith

Tragedy

 When marriages break up through the dalliance of a husband, tragedies often follow, with a resultant nightmare for the errant spouse, the wife killing their children and often herself.

 Though this could be a modern tale, Euripides wrote such a heart-rending story 2,500 years ago.

Mesmerising

In Northern Broadsides' version by acclaimed poet Tom Paulin at the Liverpool Everyman, we see an extremely strong Medea in Nina Kristofferson. She is black, beautiful, and heroic. Nina is hardly ever off stage and she gives a mesmerising performance. Her hurt is tangible, her anger and gall physical. She moves with grace, and her facial contortions tell a tale of guile and scheming.

Strong acting

For this women, one of the strongest female Greek characters, has been truly provoked, not only by her husband Jason (Andrew Pollard), who has taken a second wife, a princess, but also by the father, King Creon (Barry Rutter) who banishes her from the land. For a 'foreign' wife who has given up all to come to Corinth, having killed to help Jason gain the Golden Fleece, she is now without a country, a woman totally alone.

Killling

She decides to kill her children to so that Jason 'might die of grief'. It is her one and -only way of getting true revenge. She also kills his bride-to-be by sending a poisoned gown and golden crown. The gut-wrenching details of the death are relayed by a messenger telling how the dress eat into her flesh, whilst the crown streamed with wild flame, becoming welded to her head.

Chorus

The Chorus in this production, Michelle Hardwick, Barbara Hockaday, and Heather Phoenix, have lovely mellow voices, when speaking or singing. However, they also play harmonicas, drums, sax and keyboard. At times the loud bangs and clashing of cymbals by the players, and Medea herself, helps to lift the heaviness of the tale, but in other places the 'music' is incongruous. Especially strange is the bluesy interlude when Medea bursts into a sort of Negro spiritual.

Script

Paulin's passionate script is enthralling and spellbinding, especially when articulated by Kristofferson, an actress of true talent.

Set

The set is simple, yet evocative featuring a large wrecked crown suitably depicting a ruined home, wrapped around with Golden Fleece. The 'crown' changes swiftly to a chariot for Medea's final escape after her murderous exploits, her character literally holding the high ground whilst a distraught Jason lies before her.

Gold standard

For a play of this period Medea's strength is that she is able to flee without retribution from either men or the gods. Perhaps that is why Euripides was only given a bronze in a 431 competition amongst distinguished playwrights of his day. But this is a strong production and well worth seeing. I would award it a well-deserved gold any day.

 End

(Copyright Jeanette Smith)

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Imperial Ice Stars

Liverpool Empire

10/10

Jeanette Smith

Brilliant

Cinderella on Ice at the Liverpool Empire is a show that's breathtakingly brilliant. It's one of the most expensive and artistically outstanding ice show ever created with 25 talented championship skaters.

Ice Stars

Performed by the Imperial Ice Stars from Russia, with artistes at the top of their game, there are many 'oh my word' moments when you wonder just how they manage to expedite such daring moves on a theatre stage.

Not the classic story

The story is not the classic one we know, with buttons, mice and ugly sisters. It is much better than that. The whole show has class, with sassy costumes in the vein of the Edwardian period, all in warm muted colours, and skating to enthral.

Understudy

The story briefly sees Cinderella (Olga Shgaruntenko) as the understudy of a ballet performance of Swan Lake who takes over from one of her nasty stepsisters who falls during a live performance. She shines, and takes the heart of the mayor's son (Andrei Penkine) in the audience.

Time

Time is a constant reminder in this show, with Cinders father, a watchmaker, and the arms of the clock - lycra-clad skaters in black and gold - menacingly weaving a dark undercurrent in their dramatic interludes.

The clocks on the town square also go haywire, their hands sometimes swinging round, foretelling the danger that Cinders will face, once the gypsy 'godmother' appears

Fairy coach

 At the end of the first act village folk skate round with what seems to be strange iron shapes on sticks, but they are placed together and the outline of brilliantly lit fairy coach comes to life before the curtain descends, a pure piece of magic to amaze and tantalise.

Lovers

There are many moments when Cinders and the Lord Mayor's son try to connect, but the vindictive stepmother, Olena Pyatash, in bright red, with her two nasty daughters, Svetlana Fadeeva, and Alina Kharetdinova, cleverly weave their way in and out to keep them apart. Inventive and exciting skating, combined with expressive acting make you feel for the lovers, kept apart though their desire is clear.

Skill

 As we all know they meet, eventually, in the ball scene, and the famous slipper - or ice skate - is lost. This leads to an interesting scene when the Mayor's son is looking for its owner, with skaters dancing on one skate with the other foot naked. It's intriguing to see just how they do it, and one wonders at their skill.

Magic

The ending, is pure magic, when the scenery lifts, and the two stars dance together with a backdrop of clouds, to the beautiful original score by Tim A. Duncan and Edward Barnwell. As well as exquisite skating there are also aerial moments on a wire, giving the whole scene a surreal and dreamlike quality.

Astonishing

The show's two founders, James Cundall and Tony Mercer have created a performance that will astonish you with its magnificent choreography and breakneck skating moves you did not think possible.

This is a show that is out of this world and will transport you to another sphere.

End

520 words(Copyright Jeanette Smith)