Ever since Euripides the «Medea myth» has continued to be retold in new and different forms. Few of the countless interpretations of this material are as individual as this overwriting by the two young Australians Anne-Louise Sarks and Kate Mulvany. There is a radical shift in the perspective of the narrative: for them it is not the title character who guides the audience through the story, it is her two young sons. Locked inside their bedroom, in which the audience is also seated, they do what other boys their age do. They play, quarrel and make up again while all the time waiting for their parents to finish the argument they are having outside and for peace to break out between the family once more. But although their mother regularly looks in and tries to reassure them it is clear that the time when they could be carefree is definitely over and the two boys are becoming part of a monstrous tragedy: “That’s what the tragedy of Medea is really about: the parents’ decision deprives their children of their innocent lives.” (Kate Mulvany)
In Sarks and Mulvany’s play the character of Medea is no «mythical monster», but a normal woman who adores her family and for that reason sees herself compelled to commit a terrible act.
Anne-Louise Sarks is a theatre director who has worked successfully in Australia and now also in Great Britain who has collaborated several times with Simon Stone. Her adaptation of «Medea» was created in 2012 at the Belvoir Theater in Sydney, winning numerous awards. In 2015 she transferred the production to London’s Gate Theatre. She will now rework her concept for Basel in order to make her debut in the German-speaking theatre. With this production Theater Basel continues its intensive examination of ancient myths.
- Jacob Baumann
- Florian Guntrum
- Nils Treuer
- Itamar Mangold