The Musical Medea | Upstairs at the Gatehouse

The Musical Medea, which was written by Costas Hassabis, brings the famous story of Greek Mythology's very own Medea alive through a folk musical retelling. Focusing on Medea as a victim allows for a more sympathetic representation of the character, who is often synonymous with monstrosity and manipulation. The folk music, along with the book and lyrics, paints a compelling new portrait of Medea that more than glows with power and promise. The cast of actor-musicians bring an already strong score to new heights of impressive talent, leaving audiences spellbound by the musical. 

Directed by Tara Noonan, the musical whisks audiences back to ancient Greece, as the magic of musical storytelling beings to unfold. Whilst the songs predominantly steals focus, with the lyrics and music acting as the beating heart of the musical, Noonan ensures that the scarce moments of dialogue are each impactful and flawlessly executed.

Musical director Thomas F. Arnold deserves endless praise for his work here, creating an explosive score that feels triumphant. The cast of actor-musicians not only perform their instruments whilst in character, but the tonality of each instrument conveys emotional depth. Hassabis' lyrics are poetic and remarkable, yet the instrumental portions alone are just as splendid and continue the storytelling. The music engulfs audiences, creating a living and breathing symphony, conducted by the tragic story of Medea.

The musical injects small, subtle and admirable moments of allowing certain characters to lead the rest of the company, following the natural flow of the book. For example, Jason (Alistair Higgins), counts in the rest of the band, as he slowly charms the people of Corinth, overriding the previous Medea led numbers. Arnold's musical direction raises the standard of the show by immeasurable heights, creating what is perhaps the most beautiful and breathtaking original orchestrations on stage at present. 

The cast themselves, are incredibly talented. Thomas Fabian Parrish and Gracie Lai, although with little stage time as named characters, flesh out the piece with memorable performances as minor characters. Creating richer tones musically, Parrish and Lai are both strong musicians, with Parrish also performing as Music Captain. Jon Bonner brings out Creon's sinister side, with a chilling performance as the merciless king of Corinth. As a pleasant contrast, Felix Gillingwater comes across as a sweet relief in the form of the kind and warm Aegeus, with an earnest performance. Hopeful and innocent, Gillingwater's Aegeus makes a lasting impression despite a rather limited stage time. Caoimhe De Brun is excellent as Sister, with an air of childish naivety and loving loyalty that makes Medea's early betrayal in the pursuit of her own love, all the more painful. Brun's voice and performance are both admirable, with a winning tenderness. 

Alistair Higgins as Jason is perfectly cast. With a charm that washes over the audience, despite their best efforts to resist, Higgins' romantic tendencies are effortless. Higgins' vocals are meltingly gorgeous yet are cold and harsh when necessary, demonstrating his range. Higgins' performance is undeniably charming, despite all odds, making him a hugely likeable character. Higgins' performance in the final scene is brilliantly portrayed as he splutters on the floor, devastated, in one of the show's most complex scenes that has been perfectly directed by Noonan. 

Flo Lunnon makes her professional debut as Medea with a tremendous level of confidence. Lunnon brings out the complexity of the character, whilst injecting her own unique touches to the character. Lunnon shows no hesitation as she powers through the hefty dialogues, intense acting and numerous songs, all with a commendable charisma that is just as convincing as Higgins' charm. Lunnon's Medea is a force to be reckoned with, switching from a broken and betrayed young woman whose given up hope, to a powerful woman who becomes the puppeteer. A shockingly strong performance, Lunnon is definitely a performer to watch out for! 

The small space of the theatre proves itself to be no obstacle to Hannah Danson, who creates a cosy atmosphere that sparkles with old and new. Set as a little pub theatre (in fact the cast are even having a sing song when audiences first walk through the door, as a gentle welcome to the musical storytelling of the night), a small stage along with curtains and countless band posters are plastered onto the set. Little tables are set up on either side, where the cast are often sat at playing their instruments. Fairy lights are strung above, yet they resemble stars in the context of the show. However, the most eye catching part of the set design is a framed painting of "The Argo", the ship on which Jason adventured on, that remains hung above the stage at all times. 

Danson also worked on the show as costume designer and brings a touch of whimsical and vintage to the cast, dressing them in stunning colourful costumes that flow freely. Kim Wright's movement has the cast often sat at tables, still reacting, whilst the main cast perform centre stage. Yet the songs where the ensemble all move as one, to fill enlarge smaller moments, are some of the most visually pleasing, as a gentle choreography makes the music even more prominent.  

Toby Ison's lighting design is a treat to watch, with individual lights accompanying the instruments, creating a gorgeous lighting show in its own right. Along with creating cinematic moments out of the more dramatic moments, the use of stage fog and lighting create a rather heavenly glow to the stage, particularly the piano. Ryan Anstey's sound design ensures that each instrument is heard and that the harmonies are pitch perfect. 

The Musical Medea, which tweaks the original story of Medea significantly to present Medea as a much more sympathetic character and provides a happy ending, is a stunning little musical that captures the emotional journey and anguish of Medea. The adaption is just as fascinating, and has audiences rushing to research further into Greek Mythology. The musical, whilst still in its early days, is already a contender for the next big musical with an excellent score and even more dazzling cast. 

★★★★★ (5*)

Gifted tickets in return for an honest review