Review: Medusa, Guildhall School of Music and Drama

Often, retellings of the Medusa myth are overshadowed by an excitement to display her monstrosity, rather than trying to unpack and reveal its causation. This could not be further from the truth with this production of Medusa at Guildhall School of Music and Drama. Set against the backdrop of a deconstructed shipwreck, director Mayra Stergiou’s reimagining is a semi-staged, student-led operatic contemporary performance. It depicts the origins and aftermath of Medusa’s transformation into a Gorgon as punishment for having been raped by Poseidon in Athena’s temple. Alongside remarkable operatic performances, the show features dance, puppetry, and video mapping, tying together to create a minimalistic yet striking display.

A small cast and stripped-down setting pair perfectly with the luxurious cacophony of the orchestra. Talia Servadio’s costume design is nothing short of beautiful, with the sisters dressed in light, fitted robes to resemble marble statues, Poseidon displayed in various shades of blue to mimic the sea, and a forever changed Medusa wrapped in violet fabric, a twist of textures at her womb like a landscape. Composer Goi Ywei Chern’s score elevates each scene with precision; a delicate accompaniment to Medusa’s grief, or a far-off thunderstorm to herald Poseidon’s return.

A particular standout performance includes Eva Stone-Barney as Medusa in the second half. Stone-Barney plays excellently on the faint yet lingering youth still in the character, heartbreaking in her pleading to Athena: “I only asked for protection, but you did not protect me.” Splitting the titular role between two actors really works to drive home the concept that the character has been physically, emotionally and spiritually forever changed by her trauma.

Equally, Júlia Guix i Estrada delivers a captivating performance as Stheno — I found myself unable to look away from her impish expressions, so girlish against her commanding voice. However, while Depi Gorgoianni’s movement is phenomenal as a physical interpretation of Medusa’s consciousness, the inclusion of dance throughout seems, at times, redundant, and in truth, a little distracting.

What makes this interpretation of the Medusa story so endearing is the emphasis it places on sisterhood. The figures of Euryale and Stheno serve to remind audiences that Medusa was once just a girl. All three of them were fun and innocent before Poseidon’s callous act — not only is Medusa ultimately ruined by him, but her sisters are, too.

The nuance in handling Athena strikes a real balance; her own femininity and status as a woman is superseded by her nature as a deity. Her view of Medusa is tainted by her overall view of man, as being innately less than her and instinctually conniving. It’s important to note that it is Athena, not Poseidon, who punishes the sisters for Medusa having desecrated her temple by ‘tempting’ the god of the sea into it to be with her. Athena, albeit feminine, cannot remove herself enough from her prejudice to consider that Medusa may not be the one at fault. Eventually, she is plagued by the suggestion she has punished a victim for what was done unto her. Here, Athena is removed from her godhood and forced to confront the situation as a mortal might — that perhaps it’s Poseidon, one of her own, who has been monstrous. That the god of the sea rarely features in the performance beyond his attack on Medusa speaks volumes; he escapes persecution and instead chooses to join in on the symphony of abuse and lies surrounding the now monstrous woman.

This is a stunning reimagining of a well-trodden story, uplifted by an excellent score, captivating performances, and a reminder of the true tragedy of Medusa — that she was ever forced to become a monster in the first place.

Composed by: Goi Ywei Chern
Librettist: Jess McNulty
Conducted by: Brian Choi
Directed by: Mayra Stergiou

Medusa played for one performance only at Guildhall School of Music and Drama