Medea

A A A Comments By Pauline Adamek Thursday, Aug 12 2010

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Euripides' tragedy concerning a betrayed woman and her monstrous revenge remains a timeless examination of humanity's struggle with its darker, primal urges. With the exception of a misstep at play's end, Travis Terry brilliantly directs a superb cast, relocating the story to a contemporary lunatic-asylum setting. The text reveals a few contemporary words — and ,i>trash — while preserving the antique language that's so rich with imagery and passion. Adalgiza Chermountd's Medea is first heard wailing from behind a white paper wall, part of designer Dionne Poindexter's central set piece of Medea's quarters, which rotates with ease. "Whipping her grief-tormented heart into a fury," Chermountd has a disheveled yet formidable presence, and her multihued interpretation ranges from coherent and ferocious to deranged. Her unspeakable deed is chillingly depicted. Commenting in unison, the chorus of young girl (Shaina Vorspan), mother (Lauren Wells) and grandmother (Karen Richter) double as asylum orderlies, with Shaina Vorspan giving an especially expressive performance. There are some welcome moments of levity in R. Benito Cardenas' playful interpretation of Aegeus, one of Medea's fellow lunatics. A highlight is the scene when Medea's duplicitous ex-husband, Jason (Max Horner), attempts to "correct her exaggeration" with his version of events. Aside from a tacked-on happy ending that feels utterly false, this unpretentious production holds many rewards. Knightsbridge Theatre, 1944 Riverside Drive, Silver Lake; Fri.-Sat., 8 p.m.; Sun., 6 p.m.; through August 29. (323) 667-0955.
Fridays, Saturdays, 8 p.m.; Sundays, 6 p.m. Starts: Aug. 6. Continues through Aug. 29, 2010

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