Gate, DublinIn Euripedes’ tragedy, Medea’s doomed children are beloved, but nameless, and voiceless. As Medea and Jason sunder in acrimony, we remain with their two sons: locked in the attic bedroom of a comfortable middle class house. This is perhaps a mercy from Medea, and it does not ring false. Thus, Eileen Walsh’s Medea enters not just through the locked door, but from another world, another drama. Yet, as an all-too-recent local tragedy has shown, Medea’s act, while inexplicable, is sadly not impossible.

Source: Irish Examiner February 07, 2020 15:56 UTC