Medea, Almeida Theatre ***

The final production of the Ameida's Greek season brings Kate Fleetwood as the vengeful Medea in Rupert Goold's strikingly modern production with Rachel Cusk's reimagining of Euripides' tragedy as the story of the divorce between two successful writers has an unrelentingly feminist message whilst, in the process, discussing the destructive nature of divorce and the emotional damage it can bring to children in the middle of it. The notable thing about this production is the change of ending. If you are coming for horror, blood and gore, you will be disappointed. No screams or any graphic scenes are constructed, with a clinical production and design from Ian Macneil. Any production of Medea hinges on the quality of the titular character and Kate Fleetwood is a worthy Medea. She is angry and vengeful in the role yet also containing love and sanity which earths her and, with a frustrating and annoying chorus of mothers, seems like the most sensible person there. Whilst I'm not totally satisfied with Cusk's adaptation, with an ending which makes little sense and a family whose first world problems are hard to totally sympathise with, yet there are some stimulating issues raised in this adaptation. The supporting cast is strong with Amanda Boxer's mother demonstrating how not only men prevent oppose feminism and Justin Salinger being a husband who, whilst amiable enough, is unsympathetic and is not subtle or caring enough to command the audiences respect which creates a fiery and tense relationship on stage. Whilst some found the chorus annoying, I found it relevant and an interesting translation of the cliques between mothers but with some pathos to be found in some of them, notably Ruth Everett's character. The cleaning lady is a misstep which really just provides a foil to demonstrate how well off and lucky Medea's family is, which diminishes the strength and power of the piece. I can't see this interpretation of Medea being used again but it is a valid and stimulating work that captures both the position of feminism in the modern age very well.