Medea

By avoiding both these traps of stereotype, Becker always allows the concrete to shine through the universal myth, and vice versa – not by a process of elimination, but dialectically, not by resounding loudly, but by being unaffected and clear. In fact, this Medea, acting alone on a raised stage protrusion in Olaf Altmann’s appropriately massive set, almost as far apart from her fellow actors as from the stalls, allows us to watch her think. Thalheimer’s production strips away traditional histories of interpretation without reducing the height of the tragic fall, thus conquering new facets for this ancient character.

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