Kate Mulvany and Anne-Louise Sarks’ reimagining of Medea is completely different to any other version of the classic Greek text you’re likely to read. It’s written from the perspective of Medea’s children, shut in their bedroom while their parents go through their final bitter confrontation.
Leon and Jasper are young boys in a contemporary setting. They have iPods and glow-in-the-dark stars stuck to the walls. They mention Facebook and sing Beatles’ songs but they also tell the story of their parents’ meeting, which involves Argonauts and a golden fleece, so there’s a blend of ‘now’ and ‘long ago’.
The two boys have been locked in their room and they do what most siblings would in the circumstances: they bicker, fight, play, joke and torment each other. It’s all very normal and also unbearably sad because, of course, we all know what happens to Medea’s children.
After Medea enters and asks them to make a card for their “Dad’s friend” (the inverted commas are part of the way they refer to Glauce) and tells them they’re going to be moving to her mansion, the boys are beside themselves with excitement. It’s not that they like “Dad’s friend” – but the thought of living in a mansion is pretty amazing, and maybe they could do away with the “friend” in the process.
JASPER: Maybe we should kill her. Like … eat heaps of beans and then sneak into her bedroom and fart in a pillowcase and then put it over her head and watch her suffocate on our fart gas.
LEON: I don’t think that would work.
JASPER: I reckon if I ate enough beans it would.
LEON: You don’t even like beans.
JASPER: It’s a sacrifice I’m willing to make.
Mulvany and Sarks wrote the play after an intensive two-week workshop with two young boys and the dialogue has the authentic feel of children’s play and conversation.
They’ve also managed to make Medea appear a loving mother – never an easy task given her crimes. The end of the play as she cuddles and talks to her two boys is deeply moving.