Roe Reviews Theatre

The Loft Theatre goes above and beyond on every show they produce and Medea was no different.

The sudden darkness of the auditorium leads into the beautiful opening led by Cheryl Laverick (Nurse). She tells us – almost like the first character to speak in every Greek tragedy – that “Yes it looks bad now, but it’s about to get a whole lot worse” and she wouldn’t be wrong.
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Medea (played incredibly by Julie Ann Randell) is a mother and wife whose life crumbles beneath her after her husband Jason abandons her and their son for a much younger woman. The princess and daughter of King Corinth (Tom O’Connor).

The women of Corinth really stood out to the power they hold as Medea’s gospel chorus that for the majority of the play only she can see and interact with. Full of every age and experience she reaches out to them first in hope then to plot revenge for every woman who couldn’t do so before.

Peter Daly-Dickinson brought chilling Jason to life and the chemistry between Randell and himself is one of the strongest I’ve seen. The true desperation of Medea for Jason to consider their child vs the nonchalant nature of the husband was something that sparked almost physical fury in me and the recollection of the treatment from him.

The movement sequences throughout by @danwalshdance of both dance and physical theatre tied pausing moments together authentically, shaping the bond between all of the women even more.