The first review of Medea:
But this show is Janikova’s triumph. Constantly on stage, and with vast swathes of classical text to pick her way though, she navigates the highs and lows, the drama and the lightness, the moral complexity, with charisma and aplomb.
– Craig Singer
I was, incidentally, quite wrong in my view that the show would be better simplified. Now it is working properly (within the technical limitations of the Edinburgh fringe) Matt Eaton’s soundscape adds tremendously to the atmosphere and experience of the play. I was bigoted in commenting adversely on something of which I was not qualified to judge the potential.
I am proud of Nadira – I am hoping that eventually, rather than allude to her as my wife, people will think of me as just her husband. Of course, not only is she working with an extremely complex classical text, she is working in her fourth language. The mind boggles. Nadira is marvellous, but so is the whole cast.
If I have one quibble with Craig Singer’s revue, it is that I don’t think either Euripides or Stella Duffy had me in mind at any stage! Nor have I ever claimed to be a statesman. So I don’t quite like the little dig at me over an allusion that is entirely in his own head.
Happily, the show is starting to find its audience. Attendances have crept up to around eighty a night, and still growing, largely by word of mouth and it looks like Edinburgh people rather than Festival visitors.