Her character remains unforgettable largely because she is still considered to be one of her kind in the history of Greek mythology to have shamed motherhood. Medea, as she popularly known, usually doesn’t inspire directors since giving form to her is an uphill task.
However, the young theatre director Kanchan Ujjal Singh took up the challenge even though she was aware that the serious script written by Greek playwright Euripides might face criticism among Delhi theatre-goers!
As far as treatment of the story is concerned, the director doesn’t let the naive audience know that her production is based on a myth. Greek playwright Euripides’ captivating story is based on the ancient myth centering around Medea who helps her husband Jason in the adventure of the Golden Fleece but is later hit by betrayal as her husband marries Glauce, daughter of King Creon.
Though the plot revolves around the tale of passionate love and vengeance leading to a catastrophe, Kanchan draws the audience’s attention towards the costumes and the grandeur which places it in the league of a well-conceived and thought-through college production. As the story gains momentum and Medea (played by Sonamm Sharma) makes an impact on the audience, the director tries hard to continue this engagement. However, the introduction of Woman (Dimple Kaur) as a character - who informs about trivial actions in the play and tries to stop Medea from doing wrong to her children, is not only irritating but also mars the effort of the rest since she appears more comic than sober.
The barbarian protagonist is delineated exceptionally well by Sonamm whose style of dialogue delivery fits into the requirement of the character. Other characters such as Tutor and Messenger (Tushar Dhaundiyal and Aegeus (Pallav Chander) support in making the depiction unwavering. But there is also the presence of a not-so-strong Jason (Adhiraj Sharma) whose weak presence makes Medea’s strength inevitable.
Depiction of certain scenes is commendable ,such as the ingress of Aegeus (played ably by Pallay Chander) from whom Medea seeks assistance. Even the death of Medea’s children – pictured by a bang of two breakable dolls spilling red ribbons symbolising blood – is one of the high points of this production.
While lights at Akshara Theatre (where the play was staged over the weekend) could not add any meaning, it was the timely background music that assisted the dramatics on the stage.
First produced in 431 BC, the narrative finds resonance even in the contemporary context with these words of Medea: “We women need a husband... who becomes the ruler of our bodies.” Breathing in times where women are increasingly becoming aware of their rights and identities, a female audience would definitely question the morality parameters of
society which considers Medea as inhuman and Jason as helpless.