With a combination of ancient mythology, contemporary high-style theater and a fusion of psychological realism, Harper Joy Theater’s production of “Medea’s Children” reveals a new style of theater to the Whitman community.
“It’s unusual, very different from the plays we usually do here,” said senior Sarah Hathaway, who plays Little Medea, one of the children. “It goes into the psychology of children, and how they view adult situations. It’s experimental and really unique.”
“Medea’s Children”, a Swedish play written by Per Lysander and Suzanne Osten, adapts Euripede’s tragedy “The Medea” for a more modern audience. The play focuses on the children of Medea and Jason as their parents go through a tumultuous divorce.
“The play takes the iconic image of Medea and puts it in modern context,” said junior Alex Cassidy, who plays the role of Jason. “I was intrigued by the idea of rewriting it from the point of view of two characters who aren’t really seen in the original play.”
For Chris Petit, Assistant Professor of Theater and director of “Medea’s Children”, the play is very valuable for Whitman students.
“The subject of Medea is well-known through Core and our Ancient Theater course,” said Petit. “So the base of myth is good to have. [The play] also shows how the text has relevance in modern times.”
“Part of its appeal is the fact that it is written as a children’s play, but it connects to the larger theater community.”
-Chris Petit, Assistant Professor of Theater
Petit believes that “Medea’s Children” appeals to students because the play directly applies to the adult world and life after school, which includes family dynamics and dysfunction.
“For college students, this is a time in their life where they are forming their worldview,” said Petit. “[Students] are learning what it means to be a citizen of the world, [including] understanding the concept of family and what it means to be an adult.”
The shocking adult themes: including sexuality, divorce and suicide: step outside the boundaries of American children’s theater. As a Swedish children’s play, there is a no-holds-barred approach in which children are exposed to adult situations. While some elements are uncomfortable and even disturbing, Petit insists that the Swedish approach is “pedagogical.”
“Part of its appeal is the fact that it is written as a children’s play, but connects to the larger theater community,” said Petit. “Our production is based on the Swedish relationship to theater, which is very high quality.”
“There’s a loaded emotional content,” said junior Peter Richards, who plays Little Jason, the other child. “There are some childish elements… but Swedish theater is one of honesty. They are not trying to paint an allegorical fairytale. It’s different from U.S. children’s theater. It’s adult-themed.”
Harper Joy Theater occasionally infuses outside influence in order to expose students and the faculty to new approaches to theater. For “Medea’s Children”, guest sound designer Jimmy Garver, an elite and experienced designer, was brought on to infuse new and experimental sound elements to the play.
“Jimmy [Garver] brings a contemporary view of sound design to us,” said Petit. “It’s created live in rehearsal as opposed to being put on top. It goes through the process similarly to how performances are formed. I wanted a sound designer who worked this way.”
“[Garver’s style] is very cutting edge, very versatile,” said Richards, who does sound designing himself. “It makes the show very sensually complicated. There’s live music and [Garver’s] imposed sound design, which makes it a complex experience combined with the acting and content of the play.”
The play, while challenging in its content, offers students a fresh look at ancient theater, contemporary themes and child psychology.
“Medea’s Children” runs April 8 to 12 at Harper Joy Theater. Each evening show is at 8, with 2 p.m. matinees on Saturday 11 and Sunday 12. Tickets are available in the Harper Joy Box Office and are free for Whitman students.
