The idea of adapting a beloved Greek tragedy, like Medea, that has stood the test of time, may seem daunting. But not for Dhyan Ruparel whose strong directorial vision beats through the very core of this ADC production. When looking at the unusually insightful programme (explaining creative decisions in detail) and the variety of enriching events put on through the Medea X programme, it’s hard to believe this is amateur theatre. This production hits the mark in its perceptive negotiation of the space between Medea’s 2000-year-old Greek roots and the changing political sphere of today. Brought to life by an all BAME team, this production confronts some of society’s most uncomfortable aspects, asking a pivotal question: how can one feel at home in a world they are made to feel foreign in?

On first entrance, it was hard not to be struck by the fragmented and crumbling mansion sculpture that framed the onstage action. Sadie Hodges’ attention to detail was encapsulated through her careful set and costume work, staying true to the play’s Greek setting with characteristic white dress, while also speaking to a sense of displacement through the deceptively simple stage space. Though some elements of tech proved temperamental and there were times when actors could not be heard, there was nothing here that could subtract from the carefully curated stage space.

“Strevens acutely captures what it is to be a fiercely independent woman enmeshed in a love that courts destruction”

Ruparel’s directorial decisions were especially striking, reflecting his stated interest in the interplay between the personal and political. This certainly marked Medea, with the precisely timed entrances of male characters onstage. Whether it be Will Atiomo’s Jason storming in with his cool confidence, or the sly presence of Rob Monteiro’s Creon, Medea’s domestic sphere could not remain guarded from the intrusion of controlling males. Speaking to notions of race and gender, Ruparel’s inclusion of different languages within the dialogue and various projections reinforced his overall intention of embracing marginalised voices – depicting theatre as the inclusive and welcoming space we all know and revere.

As with every effective tragedy, the quality of acting determines the cathartic impact on audiences, and by extension, the brilliance of the production as a whole. This adaptation did not fall short of providing genuinely phenomenal acting – again, hard to believe this is amateur theatre. Mina Strevens, as the titular protagonist, gleams onstage. Tackling one of Greek tragedy’s most iconic characters is no mean feat, yet Strevens gives a stellar performance of candid emotion and heartache that Euripides would be proud of. Her ability to bring a fresh take to each of Medea’s (many) monologues is moving, as Strevens acutely captures what it is to be a fiercely independent woman enmeshed in a love that courts destruction. The use of the chorus went beyond its typical moral commentary function and gave voice to the women of Corinth. The splicing of their lines and balance of their individual roles as a collective group, at times did lessen the dramatic impact of the choric function. Even so, each actor here effectively merged emotive performance and partiality, creating a space of shared suffering. Atiomo, as Jason, delivered an outstanding performance of the self-serving yet smooth talking betrayer. His stage presence remained authoritative yet hypnotic throughout, which was effectively balanced by the gentle, loyal stature of Indira Mehta’s nurse.

“The heart and talent put into this production hits at the core of theatre’s ability to simultaneously respect and innovate its classical roots”

Bringing this play sphere vividly to life was the regular accompaniment of a live band, staged at the centre of audience view. Taking inspiration from Greek and Eastern influences, Rich Mandal’s compositions added an enhancing sonic layer to the performance. Music in productions can sometimes seem redundant, but the use of different tones and textures matched the rising and falling dramatic structure of the play utterly. It was almost as if the accompaniment became a character within itself in Medea’s winding narrative.

A modernised tragedy, Medea stuns with its sensitivity and overall theatrical effect. A clear passion piece, the heart and talent put into this production hits at the core of theatre’s ability to simultaneously respect and innovate its classical roots. Speaking to all those who have ever felt alienated or lost, the ADC’s Medea crafts a counter space of inclusivity and celebration of the uniqueness that defines humanity.

Medea runs at the ADC theatre from 5th-9th May