Word: medea
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Dates: during 1940-1949
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After 42 dark weeks, Washington's hungry theatergoers snapped up a morsel-a one-night stand of Judith Anderson in Medea, played in the outdoor Sylvan Theater at the base of the Washington Monument. Actors' Equity would still not permit its players to perform where Negroes were excluded from the audience, and the capital's only playhouse, the National, still balked at such terms...
...outdoor theater, Actress Anderson had to howl down the throb of low-flying planes for an unsegregated audience of 10,000, probably the largest ever to see Medea. Total receipts, for seats in camp chairs or on the grassy slopes: more than $16,000. Six blocks away, the National, still obstinately grinding out minor movies and losing money, was half empty...
Robinson Jeffers, American poet and anther has written a new version of Enripides' "Medea" and has made the Greek tragedy excellent modern theater fare. This is quite an accomplishment, but the success is not all Mr. Jeffers', nor did he intend it so. The "free adaptation" was written expressly for Judith Anderson. Mr. Jeffers has done double service to the theater in giving it an actable version of "Medea" and giving Miss Anderson an opportunity to make theater history...
...didn't share the enthusiasm of last year's New York theatergoers, who cheered themselves hoarse over Miss Anderson's performance, it was only because its magnificence came as no revelation. It is, however, particularly gratifying to see her playing Medea again, and to find that she has somewhat tempered her interpretation of the she-lion to make her more sympathetic. There are now instances to show that the embittered Asiatic does not lose her sense of humor, And, needless to say, she does not lose her sex impulse. Miss Anderson's Medea rages not only at the wrong done...
...Euripides, Medea is seen at the last escaping to Athens with the bodies of her two children. And, probably since 431 B.C., moralists have been objecting to her apparent escape from punishment and retribution. I trust Mr. McClintic did not have this moral objection in mind when he altered the ending to have Medea merely standing over her children's corpses. The script has not been changed: she still talks of escaping, but the audience does...