Vienna, Austria

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based on the play
by Heiner Müller
Despoiled Shore – Medeamaterial –
Landscape with Argonauts

music by

John King
Yma Sumac

‘The ashes of your kisses on my lips
Between my teeth the sand of our years
On my skin only my own sweat
Your breath a stench of alien bed…’

‘Ann Papoulis’s dance-theater solo, Medea,
is a physical and emotional tour de force…
she achieves through the force of her performance a formidable compression of emotions –
fury and vulnerability…She moves amazingly, with no loss of breath,
from a rich warble to a sarcastic phrase
while actively building into a crescendo of physical action…
Her Medea is part burlesque queen but queen nevertheless.
The overall conception is as brilliant as the sun rays to which this Medea retreats,
the beams of light that lead to glass doors.’

Anna Kisselgoff
The New York Times

Medea reviews

‘…many images of the sorceress emerge in Ann Papoulis’s extraordinary solo dance-drama.
There’s Medea the decadent cabaret singer, standing on a box within which sit two spot-lit urns,
wearing a black-green velvet gown, and singing in German one of five Heiner Müller poems
(from ‘Landscape with Argonauts’) set to raucous, bittersweet Kurt Weill-ish music by John King.
There’s Medea the strong, supple dancer, tilting slowly until one leg points high up the wall
(to call it a penchée arabesque would be misleading),
rolling on the floor, rising to tilt again…
Papoulis, looking not unlike Bette Midler, with her round cheeks and frizz of red hair,
can move from singing to speaking to dancing (or combinations thereof)
without losing a beat or her breath. She can speak in an almost too mundane voice,
then tighten the screws and move to Masterpiece Theater grandeur.
Her dancing is plushy, weighted, its technical accomplishments firmly in thrall to drama…’

Deborah Jowitt
The Village Voice, NYC