Eurpides’ Greek tragedy, Medea, is revived once more by Kathy McKean, arguably bringing more life to the title role, putting Medea front and centre in her own story. This adaptation stays true to its source material while also modernising to fit with today’s usual audience.
Her husband, Jason (Jonny Panchaud), gained the golden fleece while Medea (Nicole Cooper) has largely been forgotten. Left at home to look after her two sons, assisted by the Nurse (Isabelle Joss), Medea begins to play a dangerous game of revenge after Jason falls in love with the Princess and daughter of King Creon (Alan Steele).
Cooper’s performance as Medea is truly incredible. From the moment she enters the stage, she commands attention, bringing a great sense of naturalism to this well-known Greek tragedy. She is not merely playing a character but instead becomes Medea. Cooper truly is a master of her craft, using her entire actor’s toolbox to invoke sympathy for the audience. This is particularly evident when she crosses the threshold of the set’s confines and has no concern to meet audience members eye to eye when conveying McKean’s powerful text.
Another mention must go to Isabelle Joss as the Nurse. Never shadowed by Cooper’s powerhouse performance, Joss opens and closes the production, seamlessly jumping between active character and narrator of the story. It is particularly during her more narrator-esque moments that her performance shines, expertly pacing her dialogue to really draw the audience into the world of the play.
Gordon Barr’s direction seems very deliberate. He doesn’t try to create an artsy, contemporary adaptation, instead allowing the text and actors’ performances to be in the forefront of the production which aids in the honest portrayal of the story. The pacing is excellent, moving between duologue and monologue without any upset to the play’s rhythm.
Benny Goodman’s lighting design is especially noticeable in this production. While largely naturalistic, the choice to light the audience, almost as if the house lights are going on, during Medea’s moments of direct address is a great touch, immersing the audience into the action and bringing them onto the character’s side. This choice really compliments Cooper’s performance and creates a greater sense of connection between actor and spectator.
Reviewer: Dylan Mooney
Reviewed: 6th March 2026
North West End UK Rating:
In the same month that Something Rotten! delights audiences with its joyous Shakespearean irreverence at…
In the sweltering heat the audience of Woodseats Musical Theatre Company’s production of Beauty and…
Just off Camden High Street and up the stairs of the wonderfully cosy (and air-conditioned)…
This is an extraordinary production. Directed and starring Nicolas Perez Costa it was per formed…
Nearly 50 years after its premiere, Steven Berkoff’s East still has the power to provoke.…
Greenwich Theatre’s current production of Shakespeare’s much loved play has some interesting and innovative features.…