Written by Grace Wilson
From little things, big things grow. It’s a saying that is so Australian and so rooted in our culture. It inspires and it gives hope. Everyone knows of this saying and the song attached to it, but never have we experienced a situation where this saying comes to mind. That is until Queensland Theatre’s production of Medea by Anne-Louise Sarks and Kate Mulvaney, directed by Daniel Evans.
This adaptation of this famous Greek tragedy focuses on the perspective of the two sons of Jason and Medea. In the original myth, we see little to no actual story from these two young boys - so to see an adaptation from a frankly inaccessible storyline in the traditional drama was a bold and incredibly smart choice. To truly appreciate the way the playwrights took this traditional myth and flipped it on its head, a knowledge of the actual myth was required because the subtleties of references could easily be missed. The play ranged from blatant acknowledgments of the traditional myth (such as one of the children having Jason’s Golden Fleece in jumper form) to more hidden references like the pet goldfish being brought back from Jason’s travels.
Queensland Theatre helps you out if you aren’t a seasoned Greek tragedy fan, with references to the traditional myth postered around the building. Emma Cole’s breakdown of the myth and its relevance in the program was also a welcomed insight into how this adaptation plays out. However, it was the casting of this show that really sold this adaptation and its incredible depth. To really emphasise how interesting this choice was, Evans chose to open a casting call in early 2024 to search for four young boys to play the roles of Jasper and Leon. This, in turn, gave an immediate impression of community and local talent. An open casting call for young Brisbane-based talent? From a state company? To know this search (or quest) was conducted within our home city just gave an edge to this production. We are looking at little Brisbane talent, that could very easily grow into something big. Something huge.
On opening night, Orlando Dunn-Mura played Leon and Felix Pearn played Jasper. Both of these performers together gave stand-out performances, especially for such a young age. It felt like watching a real sibling rivalry, of boys being young and wild - the audience were outsider viewers for a daily domestic play routine for two young boys. Considering the mammoth amount of lines, the intense movement and fight scenes throughout the show and the heightened emotional stakes - these two young performers should be applauded and celebrated. This is where the future of Brisbane theatre lies. In the heart of our youth.
Helen Cassidy stepped into the role of Medea in this production. Although this version provides limited stage time for Medea, Cassidy took these moments and held the tension across the entire stage. They balanced kind-hearted mother and distressed wife in a harmony that should be admired. All three of the actors created such beautiful and intense harmony that made this play feel intimate and family-like. Despite the dark undertones of this work, this is the theme that prevailed in this version. We almost forgot the stakes of this work, and what was to come at the end of this play.
The set, sound, and lighting design of this work also added so much to this work. The set, created by Chloe Greaves, was a double mirrored box that provided an insider look into a boy's bedroom - littered with toys, posters, teddys, and Nerf guns. In one corner sat a fish tank with real fish inside, that followed and responded to the boys as if they were their actual pets. It seems as if fish can enjoy a little Greek tragedy too. Lighting design by Matt Scott added so much heightened dramatic tension to the work and allowed us to be completely immersed in the action on stage. The light was used as a stop and start of the action, it would come out of nowhere and make audiences jump and realise that they were, in fact, watching live theatre. This immersion was incredibly impressive and should be commended for the way set and light worked in harmony. Sound design by Mike Willmett should not be ignored either, adding dimension to moments of tension and characterising off-stage presence with a looming sense of dread. Jason is not a character in this adaptation, but instead more a looming presence that lingers in the back of everyone's mind. His presence is characterised by Willmett as this long, droning sound that appeared as the boys listened in on Medea and Jason’s conversation. Everyone in the audience was leaning forward, waiting for something to jump out but this choice of sound was equally as impressive as a mid-stage cameo of Jason if there ever was one
Overall, Queensland Theatre’s production of Medea shines a spotlight on the theatre youth of Queensland. It has effectively demonstrated the talent of our local creatives to take such a complex piece and morals and truly shine. We hope state companies can look at this production and see how taking a risk on young people on a mainstage can pay off, and pay homage to a section of the arts community that shows that from little things, big things can and will grow.
Medea runs until the 8th of June, you can purchase tickets here!
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