Capital Fringe Review: “Medea” presented by Songs of the Goat at Theater J

Robyn Freeman as “Medea.” Photo courtesy of Songs of the Goat.

Songs of the Goat, a group of actors all hailing from the Studio Acting Conservancy, make their Capital Fringe debut with a taut and haunting interpretation of Euripides’ Medea. Director Michael Chamberlin’s production uses an adaptation by British playwright Ben Power that premiered at the National Theatre in London 10 years ago this month.

…Freeman is captivating in the role of Medea…the chorus actors are equally talented but differ in age and style…the writing, direction and performances make Songs of the Goat’s “Medea” a strong play…

Power avoids the languid tone of other English adaptations of Medea, opting instead for sharp, clipped language. His version streamlines the original – combining the main character of the nurse and the minor character of the teacher into a single character, for example – and focuses entirely on Medea herself.

Chamberlin halved the running time of the script to accommodate Fringe’s time constraints, and reducing the story to 50 minutes is largely effective, as it further strips the text down to its essentials. This can cause mild confusion for those unfamiliar with the play. Medea’s decision to kill the sons she had fought so hard for, just after she had seemingly satisfactorily achieved her revenge, is difficult to understand from rushed moments. But these moments are few and far between, and Chamberlin’s reduction saves the heart of the play.

Robyn Freeman is captivating as Medea, presenting Jason’s spurned wife as a figure of strength and determination. In her formal dealings, Freeman’s Medea is dignified, in her private pursuit of revenge she is shamanistic and eerie. In most of these scenes she is surrounded by the chorus of Michelle Norris, Elizabeth Pierotti and Sia Li Wright. Chamberlin has cast her well here – the chorus actors are equally talented but differ in age and style.

These human actors are mirrored by their shadows during Medea’s descent into rage. Chamberlin makes excellent use of the large curtain in the DCJCC’s Cafritz Hall by projecting shadows behind the stage action. In a truly amazing moment, chorus member Norris spins like a music box ballerina at center stage, and then Medea’s large shadow hand takes control of her as a ghostly puppet for a scene of exposition. (Chamberlin does his best to accommodate the lighting limitations of performing with hall lights as stage lighting, but the decision not to dim the lights at the start of the show led to some confusion as to whether the show had actually started.)

Among the other cast members, Rachel Manteuffel stands out as the nurse, as does Vincent Brown, a five-decade DC theater veteran, as Ageus. Manteuffel’s nurse is compassionate and caring. Brown’s Ageus is fatherly and kind.

In this brisk production, Power’s language and Chamberlin’s cuts sometimes lead to unintentional humor. Ageus’s incredulous “Another woman?” when he learns of Jason’s infidelity feels a bit like a sitcom punchline, as does another character’s “Are you crazy?” But aside from these and a few other minor issues, Songs of the Goat’s writing, direction and performances make “Medea” a strong entry at this year’s Fringe Festival.

Running time: Fifty minutes without an intermission.

Note: For adults only.

“Medea” will be performed on July 14 and 20, 2024, presented by Songs of the Goat at DCJCC Theater J, 1529 16th Street NW, Washington 20036. For more information and tickets, visit on-lineFor more information and tickets for the festival, which runs until 21 July 2024, visit the Capital Fringe website.