Medea Goes to Grail

At first Paradox manager Anna Baker seems to be an anomaly. Her calm elegance, finesse, and warmth belie her acute insight into female fury. 

Or do they? 

We meet at the Admission Office, where she works as an intern. Anna beams cheerily from behind the desk. I pour myself some coffee, which, by the way, you really need to stop stealing if you are not employed by this place of business. 

Anna has prepared a version of Heiner Müller’s “Medea” for the RAW stage. “Müller is an avant-garde playwright,” she says. “His work is postmodern, fragmented, and apocalyptic.” Müller, born in Eppendorf, Saxony directed productions of his own in Berlin, as well as all over Germany and Europe. The playwright joined the Socialist Unity Party of Germany in 1947. In his creations, he “grapples with the clash of communism and capitalism,” says Anna. 

Our emerald-eyed director has divided Müller’s “Medea” into three sections. “The first and the third scenes are portentous poems,” she says. “In the second one,” she continues with a playful smile, “Medea describes how she will destroy [Jason]. I have also added a scene from Heiner Müller’s ‘Hamletmachine.’” 

Anna describes her piece as “a feminist art installation performance with a womblike structure.” There will be four rooms the audience can walk through, like a house tour. “It blends the apocalyptic with the domestic, in a dark yet slyly humorous manner,” she says. 

“I want my audience to feel actively involved in this. I want it to be fun and rambunctious.” Anna says that her version of “Medea” was perfected through “collective decisions” among all cast members. 

Of RAW, Anna says, “ it’s the best week at Reed. I live for seeing my friends work creatively, and getting to witness what they produce.” 

“Medea” will be staged in Prexy on Thursday, March 6th, at 9pm.