Robyn Freeman as “Medea.” Photo courtesy of Songs of the Goat.
Songs of the Goat, a company of actors who all came out of the Studio Acting Conservancy, makes its debut at Capital Fringe with a tight and haunting rendition of Euripides’ “Medea.” Director Michael Chamberlin’s production uses an adaptation by British playwright Ben Power first staged 10 years ago this month at the National Theatre in London.
…Freeman is captivating as Medea…the Chorus actors are equals in talent but exhibit diversity in ages and styles…the text, direction, and performances make Songs of the Goat’s “Medea” a strong entry…
Power eschews the languorous tone of some other English adaptations of “Medea” in favor of sharp, clipped language. His version streamlines the original—the key character of the Nurse and the minor Tutor figure are combined into one, for instance—and keeps the focus squarely on Medea herself.
Chamberlin has cut the script’s running time in half to fit Fringe’s time constraints, and reducing the tale to 50 minutes is largely effective, further stripping the text to its essentials. This can lead to slight confusion for those not familiar with the play. Medea’s decision to kill the sons she had fought so hard for, just after it seemed she had satisfactorily achieved her revenge, is hard to understand when rushed. But these moments are rare, and Chamberlin’s abridgment salvages the heart of the play.
Robyn Freeman is captivating as Medea, presenting the scorned spouse of Jason as a figure of strength and resolution. Stately in her formal dealings, Freeman’s Medea is shamanistic in her private pursuit of vengeance, flowing with eldritch energy. She is surrounded during most of these scenes by the Chorus of Michelle Norris, Elizabeth Pierotti, and Sia Li Wright. Chamberlin cast well here—the Chorus actors are equals in talent but exhibit diversity in ages and styles.
These human actors are mirrored by their shadows throughout Medea’s descent into rage. Chamberlin makes great use of the large curtain in the DCJCC’s Cafritz Hall, projecting shadows behind the stage action. In a truly amazing moment, Chorus member Norris spins like a music box ballerina at center stage, and then Medea’s large shadow hand takes control of her as a spectral marionette for a scene of exposition. (Chamberlin does his best with the limitations on lighting that come with performing with house lights as stage lighting, but the choice to not lower the lights at the top of the show led to some confusion over whether it had actually commenced.)
Among the rest of the cast, Rachel Manteuffel is a standout as the Nurse, as is five-decade, D.C. theatre veteran, Vincent Brown, as Ageus. Manteuffel’s Nurse is empathetic and caring. Brown’s Ageus is fatherly and kind.
At times in this brisk production, Power’s language and Chamberlin’s pruning result in unintentional humor. Ageus’s incredulous “Another wife?” when learning of Jason’s infidelity, comes off a bit like a sitcom punchline, as does another character’s “Are you insane?” But apart from these and a few other quibbles, the text, direction, and performances make Songs of the Goat’s “Medea” a strong entry in this year’s Fringe Festival.
Running time: Fifty minutes with no intermission.
Advisory: Appropriate for adults only.
“Medea” has remaining performances July 14 and 20, 2024 presented by Songs of the Goat at DCJCC Theater J, 1529 16th Street NW, Washington 20036. For information and tickets, go online. For more information and to purchase tickets for the festival, which runs through July 21, 2024, go to the Capital Fringe website.
