Medea: A Bliss For Cuban Theater
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- Arts and Culture
- culture an traditions
- 01 / 14 / 2009
Medea sueña Corinto (Medea dreams of Corinth), thus is this monologue entitled. It is Cuban Theater Company Hubert de Blanck’s proposal for December, at its usual theater in Calzada street, in the borough of Vedado. Abelardo Estorino, National Theater and Literature Award-winner, has decided to face the challenge of recreating a classic, the myth of Colchis’ sorceress, a tragic tale of passion. The main role is played by actress Adria Santana, Estorino’s choice for several of his protagonist roles throughout his career.
It is a bliss for Cuban theater to welcome this Medea, brought back to live by Estorino. While faithful to Euripides character, the Cuban author’s Medea stands much closer to contemporary audiences.
A monologue turned into the main character’s dialogue with her creators: Euripides, Corneille, and Seneca, some of the many playwrights bewitched throughout history by this woman’s myth.
Adria Santana presents a Medea who rebels against any and all mandates, divine or human. Her recreation of the character lives pervaded of love for Jason to such extent as to lay the Golden Fleece to his feet and make him appear, through magical potions and spells, as the Fleece’s conqueror. Her frightful love turns hatred, revenge and spills the blood of many, even her own children’s.
Medea demands for a justification of her deeds, she claims over over for Euripides’ to appear on stage and ends up telling her own story. Flashing her usual talent, the actress moves around the stage at a rhythm much appreciated by the play itself. She endows her speech with highly erotic accents and well-brought nuances, forcing spectators to remain attentive for the whole duration of the play.
Eduardo Arrocha was responsible for set design and wardrobe, a task he fulfilled choosing simplicity, much in line with lights arrangement by Carlos Repilado and music by Juan Piñera.