Tragic tale of love lost

A set full of sand has been Legal actress JoĂ«lle Prefontaine’s latest rehearsal space.

“It’s almost like being on a little mini-vacation that goes horribly wrong,” she chuckles describing the sand and water set designed for Medea.

The University of Alberta Studio Theatre closes its season with Donna Marie Baratta’s MFA directing thesis running May 17 to 26 at the Timms Centre for the Arts.

Although there are several versions floating around, Euripides’ telling of the tragic tale of the Jason and Medea myth is one favoured by modern thespians.

In this doomed love story, Jason of the Argonauts leaves his wife of 10 years, Medea, for the daughter of King Creon.

“She was with her partner. They had two children and he decides he wants to marry a king’s daughter for social standing,” says Prefontaine, whose character is a Medea Variation.

Blinded by jealousy and rage, she poisons the princess. When King Creon goes to help his daughter, he too dies. In a final stroke of revenge, Medea murders her children so Jason will also feel her pain.

In Euripides’ tale, she escapes Corinth on a golden chariot sent by her grandfather, Helios, god of the sun, while Jason is left to ponder everything he has lost.

“She hurts herself at the same time. It’s heartbreaking. There’s no sense of victory at the end. They’re both broken,” Baratta explains.

Baratta, who cut her teeth performing for Live Entertainment and Mirvish Productions’ I’m Crazy for You, is drawn to exploring darker themes.

And in this play of great love and loss, the many motifs are compelling.

“I want to tell the story from her perspective. I want to find a beautiful way to tell the story. It’s one of those plays that is just as modern now as it was then in the sense that it’s about heartbreak and the ability to coexist amicably.”

Baratta flatly rejects the notion that Medea was insane.

“I sympathize when I see her struggle. It’s difficult. It’s a play that will really polarize people.”

Perhaps the biggest change from other Medea productions is the addition of five Medea Variations, a substitute for the Greek chorus.

The Variations are five aspects of Medea, and although they do not speak, their body language transmits their thoughts and feelings through dance and movement.

“We’ve been unleashed because of Jason’s leaving,” explains Prefontaine of her role.

And the Medea Variations carry an international flavour with actresses from Spanish, French and African heritages.

“What I enjoy about Greek theatre is the emotions are so huge and so real. This is larger than life.”