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Medea Reviews

“Tom Paulin’s vernacular but poetic translation, offers the clearest, most-direct telling of the story I have seen”
British Theatre Guide
“I must praise not only the language chosen by Tom Paulin, but the incredible talents of Northern Broadsides in delivering this modern feel…….Nina Kristofferson’s performance is superb, capturing the manic episode into which Medea spirals with a wicked glint in her eye and knowing curve of her lip. Quite simply, an utterly fantastic piece of theatre. Go and see it while you have the chance.”
Clickliverpool.com
“While the important characters systematically ruin the world, the humble Chorus fruitlessly urges them to moderation. Their interventions are presented imaginatively and supported by excellent musical underpinning, performed by themselves.Such versatility is typical of Northern Broadsides. Director Barrie Rutter provides a strong account of the play and the action is swept along with high intensity.”
Halifax Courier
“Northern Broadsides’ new version is by the poet/critic Tom Paulin and, as you might expect, it has some politically pointed moments. Describing Medea’s status in Corinth, it hits upon the word “immigrant”, rather than exile, and the production makes good on this claim. Nina Kristofferson’s Medea and Cleo Sylvestre’s nicely chatty, scandalised nurse are the only black actors in a cast that is otherwise broad Yorkshire in complexion. Paulin’s language is capable of taking bitter lyrical flight, as when the wounded, dangerous atmosphere generated by Medea is evoked with the phrase: “the air around her hurts”. And this is a production which musically invokes the blues as the voice of internal exile. Youthful and engagingly direct, even (or perhaps especially) when she is being (too) transparent in her deadly scheming, Kristofferson makes a forceful but unduly fresh impression.”
The Independent
“Tom Paulin’s swingeing Irish version of Medea for Barrie Rutter’s Northern Broadsides makes her a woman who sings the blues. Literally. The Chorus, whittled down to three women (Graces or Witches?), are plain speakers but they are also a music: they sometimes sing their advice and sometimes take up saxophone or drums to provide a keening commentary. The Blues suit this tragedy: they turn lament into a weapon.”
The Observer
“Northern Broadsides specialises in direct, uncluttered productions of classical and Shakespearean drama. This new version of Medea, scripted by one of the UK’s most prominent poets, certainly lives up to the company’s manifesto – it is considerably more accessible than much Greek tragedy.”
The Stage
“…an all round vibrant display from the cast, which under the skilled direction of , offers an outstanding performance that holds the audience captive to the last.”
Whatsonstage.com

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