Writer, Chino Odimba’s BC/AD mash is a very Euripidean project of re-imagining characters from traditional myth as contemporaries, with all the psychological nuance that we might now expect. So a modern tale of marital infidelity and familial breakup is superimposed on Euripides’ original with Medea becoming a present day Maddy. Thus, for example, the contemporary analogue for Medea’s proposed exile is the repossession of Maddy’s flat following Jack/Jason’s refusal or inability to pay the mortgage.  Thankfully Maddy draws short of Medea’s solution of slaughtering all concerned in order to turn the screw on Jason’s grief, yet in keeping with Medea’s standing as a proto-feminist she is not prepared to simply acquiesce and accept the hand she is dealt by her philandering ex.  By imaginatively entering into the story and psyche of Medea the modern day character finds the strength to stand up for her rights.

Director, George Mann, has, as it were, rummaged around in the hat box of creativity and decreed that much of the dialogue is sung in recitative with a rhythmical backing of clicks and chants from the chorus who repeatedly move in a stylized tai chi sort of way.  The excellent all female cast rise to the challenge and ensure all translator, Robin Robertson’s, dialogue/song is delivered in a crisp, forceful style.

The play suffers from being emotionally overbalanced.  Although it starts (literally) with a whimper it quickly gets into its stride and is largely delivered in a self-consciously angry tone, ‘The rage in my heart is stronger than my reason’, being a key phrase. The overall note would be ‘forceful’.  Akiya Henry as Medea/Maddy valiantly carries the burden of all the charged emotion and does so with no small deal of command, commitment and presence; both as the ‘barbarian’ princess struggling as an outsider in Corinth and as the ‘Cathy-come-Home’ single parent out of her depth in the face of a cold, uncaring bureaucracy.  Her performance will do her no harm whatsoever and one could see a number of strong-willed women’s parts (Miss Julie perhaps?) stacking up for her consideration.

Similarly, Michelle Fox, as Creon, exudes an authority not easily come by for a relatively inexperienced actor and in the face-off between the two summons the wherewithal to show Medea who’s boss.  Stephanie Levi-John as a swaggering Jason/Jack-the-lad reaffirms that losing ones children is no less devastating whatever millennium one live in with a passioned remonstrance with his rejected wife.

With no chariot of Helos to whisk her defiantly away at the end, designer, Shizuka Hariu provides Medea with a ‘stairway to heaven’, halfway down which Medea/Maddy merge as one.  Indeed at times it was unclear which century we were in and although that may have been by design it led to moments of confusion rather than clarity.  Nonetheless this is a novel reworking of a much interpreted classic which has enable the Old Vic to present some noteworthy talent.    ★★★☆☆    Graham Wyles   11^th May 2017