The Musical Medea – Upstairs at the Gatehouse

Florence Lunnon in The Musical Medea at Upstairs at the Gatehouse, London. Picture: Inigo Woodham-Smith

The Musical Medea continues at Upstairs at the Gatehouse, London until 4 October 2026.

Star rating: four stars ★ ★ ★ ★ ✩

A myth as old as time, except now it’s told from the perspective of the leading lady herself. In Costas Hassabis’ adaptation of Medea, the story does not shy away from the horrific details that once shocked Ancient Greek audiences, while also allowing us to see the human being behind the central figure: a woman made to feel like an outsider, and whose struggle for acceptance feels as universal as it is tragic.

The speakeasy-like set design of ‘The Argo’ creates an intimate atmosphere, enhanced by the onstage musicianship. The incredibly skilled actor-musician cast perform the folk music score, playing a range of instruments from accordion and acoustic guitars to keys and cajón, alongside their vocals. Those of Flo Lunnon, in particular, stand out, bringing a striking emotional intensity to her portrayal of Medea.

The cast also give strong performances throughout. Alistair Higgins does an incredible job as Medea’s husband Jason, creating an underlying unease around his character’s morals and intentions from the outset. The audience is left questioning his duplicity as he shifts between his apparent love for Medea, expressed through romantic duets with Lunnon such as ‘I Fell in Love With You’, and a more power-hungry lust in performances such as ‘Better a Has Been Than a Never Was’.

What makes this interpretation of Euripides’ tale different is that, without ever trying to justify Medea’s actions, it enables audiences to understand the woman behind them. A woman who sacrifices royalty, status and family for a love that initially promised her all that and more, only to ultimately strip her of everything. This is achieved through a more ambiguous presentation of the brutality than in the original, placing less emphasis on the gore and more on the emotional consequences of Medea’s experience as a woman.

Lunnon’s performance of ‘You’ll Miss’, which concludes Act I, certainly must be the show’s most powerful number. Not only does it feature an incredible vocal performance, but one of feminine rage, rebellion and revenge.

The pacing of Act II does not quite match the strength of the first, with some of the bigger plot points arriving much more quickly, leaving some of their emotional weight feeling slightly rushed. This is particularly evident in ‘My Children’, where Jason is stripped back to his primary role: not a fighter, not a prince, but a father. In a strange parallel to Medea, he is left with the very identity she has been reduced to, the very thing she tells him should have been all he needed. It’s a powerful moment, but one that perhaps deserved more room to breathe.

Directed by Tara Noonan, The Musical Medea is certainly one of those shows that you watch and see the potential. What is already there is an emotive, intimate and hugely talented fusion of music, storytelling and performance.

Libby O’Connell