Emma Beattie is starring as the title role in Anne-Louise Sarks’ production of Medea at the Gate Theatre.
Having premiered in Sydney to huge acclaim, Anne-Louise’s production turns Euripides’ play on its head and presents the tragedy from the children’s perspective.
Emma’s theatre credits include: The Distance & The Ruffian on the Stair (both Orange Tree), The Odyssey (Derby Playhouse), The Last of the Haussmans (National), Death of a Cyclist (Soho), Four for Jericho (Pleasance), Great Expectations (Watermill), The Song of Deborah (Lowry), The Potting Shed (Finborough), Ivanov (Donmar/West End), John Gabriel Borkman & The Cut (both Donmar) and Hysteria (UK tour). Her screen credits include: Catastrophe, The Wives Did it, Mr Selfridge and Legacy.
I recently spoke to Emma about why this new adaptation of Medea will surprise audiences, how she’s finding her first experience of acting alongside child performers and what it’s like to work at the Gate…
What drew you to this production?
I read it – obviously knowing the story – and really thought it was wonderful. I thought it was terribly human and unique because it’s told from the point of view of the children, rather than from Medea's perspective. It made the whole thing really exciting and interesting – everything is flipped on its head. You can feel the love that Medea has for her children and I remember upon my first reading being utterly drawn into the story and the world of these children. I immediately understood it. Obviously it’s a part every actress would want to play, but this is completely different to any other interpretation of the story that I’ve read or seen before. It really is more about the children than it is about me… but sadly you probably can’t interview them [laughs]. They’re only little!
