Medea is presented by the Duke University Department of Theater Studies
By Euripides, Translated from the Greek by Michael Collier & Georgia Machemer
Permission for production and streaming granted by Oxford University Press.
Director: María Zurita Ontiveros
DESIGNERS
Scenic Design: Ash Jeffers
Costume Design: Erin M. West
Composition & Sound Design: Sid Richardson
Lighting Design: Leah Austin
Video Broadcast Director: Austin Powers
THEATER STUDIES PRODUCTION SUPPORT
Distinction Project Supervisor for María Zurita Ontiveros: Jody McAuliffe, Professor of the Practice of Theater Studies and Slavic and Eurasian Studies
Distinction Project Supervisor for Ash Jeffers: Torry Bend, Chair, Associate Professor of Theater Studies
Director of Theater: Thom Quintas
STAGE MANAGER
Sarah Larkin
DIRECTOR OF PHOTOGRAPHY
Anya Dombrovskaya
Special thanks to Jim Findlay, Tom Wilson, Darren Gobert, Erika Weiberg, Valerie and the Muensterman family, Onastasia and Wanda Ebright, Julia Mendez, and Zuri and Ronnie.
CHARACTERS
NURSE of Medea: EMI HEGARTY
TUTOR to Jason and Medea’s children: HARRISON COLE
MEDEA daughter of Aietes, King of Colchis: TENLEY SHAI SEIDEL
CHORUS of Corinthian women with their leader: CHRISTINA BOXBERGER; ANYA DOMBROVSKAYA; KYERAH ETHERIDGE; ELISE GUTIERREZ; SARAH JACOBS
CREON King of Corinth: BRYANT LEWIS
JASON leader of the Argonauts: DANIEL KIM
AEGEUS King of Athens: THEO CAI
MESSENGER servant in Jason’s household: ISA MELLODY
CHILDREN Jason and Medea’s two sons: CAMILLE FURIN and LELAND FURIN
THEATER OPERATIONS STAFF
Senior Director, Venue and Production Manager: Marcy Edenfield
Associate Director: Richard Kless
Associate Director, Box Office: Jessica Reveal
Assistant Manager, Stage Operations: Leah Austin
Senior Production Technicians: Sean Haggerty, Erik Koehler, Griffin Matthews, Austin Powers, Scott Silver, Christopher Thurston
Scenic Painter: Miyuki Su
COMPANY BIOS
Leah Austin (lighting design)
Leah Austin is the Assistant Manager of Venue and Production Management here at Duke, frequently designing lighting and facilitating a wide variety of events on campus. She designed the lighting for Love Life for Theatre Studies in 2018, as well as a number of student dance clubs performances. Before joining the Duke team, Leah had been freelancing in lighting design at a number of regional operas including: Fort Worth Opera, Kentucky Opera, Lyric Opera of Kansas City, and Central City Opera. Leah holds an MFA in Lighting Design from California State University at Long Beach, and a BA in Theatre Design from Boise State University.
Christina Boxberger (chorus member)
Christina (she/her) is a sophomore from Durham studying environmental science and psychology. She has been involved in theater and dance for years, but this will be her first time behind the camera. She's very excited to try her hand at documentary filmmaking! In her free time, Christina enjoys listening to new music, going outside, and baking banana bread. Christina would like to thank María for telling her about this project and for being a rockstar director! She'd also like to thank Anya for teaching her how to use a camera and answering every silly question she had along the way.
Why do you think the arts are essential?
I think that the arts have always been essential, and the difficulties of making art during the pandemic have made this fact even more clear. Being a part of this project has showed me the ways that COVID-19 restrictions can be used as opportunities to make something really unique and interesting. Without restrictions on audience sizes, we would never have thought to shoot live theater in a documentary style. Without the challenge of masks, we might not be focusing so deeply on developing our use of body language and gestures. Working with a group of people who are so committed to creating a show we can be proud of, in the midst of a global pandemic, reminds me of why I like doing theater. I hope that those who watch this production will be able to feel that energy as well.
Theo Cai (Aegeus)
Theo (he/him or they/them) is a Class of 2021 student majoring in environmental science and policy, and minoring in creative writing. He hails from Dallas, Texas, where his mother, brother, and two pitbulls reside. They are grateful for this opportunity to act during their senior spring and amidst such intense global upheaval. In his free time, he writes poetry and makes comics. Theo would like to thank his dearest friends for lifting him up, his younger brother, and his therapist.
What does performing live theater in this moment mean to you?
Performing live theater right now is an extreme gift and privilege and I will forever be grateful. It is monumental not only to be with others in person, but also to work on something bigger than ourselves—to build, create, and breathe together (albeit with our masks on). There is a genuine grounding and meditative quality to live theater that I have missed dearly. I won't take this for granted ever again.
Harrison Cole (tutor)
Harrison Cole (he/him) did some film acting when he was younger, but this is his first time being in a performance in a while. His interests are urban planning, healthcare, and climate change solutions through a financial and governmental lens. He is an undergraduate from the Charlotte area who is majoring in economics and minoring in math (and maybe French). He would like to thank his beautiful roommates, Will Herbst, Mike Pupi, and Holly Simmons. Also, thanks to Ben Varah.
Why do you think the arts have been so important during the pandemic?
I think that art is especially important during a pandemic because of its ability to resonate with forgotten themes. Most conversations I’ve had over the past year tend to follow similar patterns and address similar themes, but Medea’s specific themes that the viewers will see feel so distinct from the common discourse during the pandemic, but especially relevant. Only an artistic piece such as this could present these ideas in this manner.
Anya Dombrovskaya (chorus member and video director)
Anya Dombrovskaya (she/her) is a senior from Pittsburgh, studying philosophy and visual & media studies. She is passionate about filmmaking and has written and directed three short films at Duke. She also enjoys teaching middle schoolers, sketching people when they’re not looking, and drinking copious amounts of tea. Anya is excited to bring her love of film into her work on this production of Medea.
What has your experience on this production been like?
María’s production of Medea adapts to the constraints posed by the pandemic by combining theater, film, and docu-fiction. It has been exciting to work in this new territory, and the experience has shown me how challenges which seem restrictive can lead to inventive creative choices. This is my first time being a part of a theater production at Duke, and seeing María’s work, I am learning how much any storyteller stands to gain by working in theater. After my graduation this spring, I am sure this experience will stay with me, reminding me of how the emotional release of Greek tragedy can speak to the strange experiences we have not yet quite processed—like that of the pandemic.
Kyerah Etheridge (chorus member)
Kyerah Etheridge (she/her) is a nineteen-year-old undergraduate student at Duke University. She is very close with her family which include her parents and younger brother. She is new to theater and excited for everyone to see Medea. Kyerah would like to thank her parents and family for encouraging her!
What does performing live theater in this moment mean to you?
In stressful times like the one we are in, it is important to take care of your mental health. This can be difficult especially in a pandemic where it is difficult to engage with others on a personal level. Being able to escape mentally has been important for me during this time by engaging with new television series and/or films and reading new books. I think being able to perform in this play, despite how dark the story is, has been a way to escape from the current conditions that we find ourselves in. Being able to transport myself to this other world has been a way to maintain healthy mental health. I also find that being able to connect with my fellow castmates has helped with providing some of that human interaction that we have all been needing for the past year. The lack of social interaction has been something that I have missed immensely, especially coming from a large family. Performing live theater has allowed me to be with other people despite the current conditions. Also, the ability to get out of my room for even just a couple of hours was nice and gave me some sense of normalcy that I have not had for over a year. Sometimes all we need is to get some fresh air, and it is easy to forget that. Live theater has allowed me to remember that these small things can help with staying sane during insane times.
Elise Gutierrez (chorus member)
Elise Gutierrez (she/her) is a first-year from Baton Rouge, appearing in her first performance at Duke as a member of the chorus. Her previous acting experiences include several shows at her high school and Theatre Baton Rouge. She hopes to take part in many more Duke arts productions and would like to thank her family as well as the entire Medea team.
What has your experience on this production been like?
Medea has been a unique and exciting. I knew going in that everything would be different from prior shows due to pandemic protocols, so I was a bit nervous. However, I’m so impressed by how far we’ve come and that we’re able to have a show under these circumstances. It’s been a huge learning experience for me especially with new skills such as camera work. I never imagined being in a play quite like Medea, but I am so proud to be a part of this show!
Emi Hegarty (nurse)
Emi Hegarty (she/her) is a first-year student from Bend, Oregon. When not on stage, she enjoys riding horses, rock climbing, and pretty much anything outdoors. She has acted most recently in the Redmond Proficiency Academy production of She Kills Monsters, where she mastered the art of the quarterstaff, and assistant directed Theater Studies’ 2020 fall mainstage, Citizen: An American Lyric. She is extremely excited to be a part of Duke’s production of Medea! Emi would like to thank Kate Torcom and Izzy King for supporting her throughout her first semesters at college!
Why do you think the arts have been so important during the pandemic?
The arts have a way of binding communities together. As we progress into the second year of the pandemic (yikes), it is important to foster closeness between people while remaining at a distance. Theater, and the arts in general, allows for a shared experience that is hard to come by right now!
Sarah Jacobs (chorus member)
Sarah Jacobs (she/hers) is a senior at Duke majoring in international comparative studies with a minor in political science and a certificate in Jewish studies. Sarah is from Jacksonville, Florida (go Jags) and enjoys singing and writing songs on her guitar, re-watching the same television shows over and over, and spending time with friends. Sarah is honored to be part of the Medea family and would like to thank anyone who has supported her in her Duke theater endeavors, especially her friends and family. Medea is Sarah’s first Theater Studies production, but she was previously on the Hoof ‘n’ Horn and Duke Players stage in Company, [title of show], The Producers, and as the assistant director of Cabaret.
Why do you think the arts have been so important during the pandemic?
The arts have been my saving grace during the pandemic. Whether I was listening to music, drawing and painting, watching new films and TV, or writing songs, all forms of art have been there for me as a healthy outlet for dealing with really heavy emotions like grief, loneliness, and more. Medea has been my only in-person experience this semester, and I feel so grateful for the four hours per day I get to forget about the world around me and step into another, surrounded by wonderful peers. It is amazing to me how so many “normal” aspects of the theater community have continued throughout the pandemic, and how we have still been able to bond as a Medea family despite all the restrictions.
Ash Jeffers (scenic designer)
Ash Jeffers (they/them) is first and foremost a scene shop student. They worked there long before becoming a theater studies major, and used the skills learned there to springboard into their study of scenic design. Serving as technical supervisor for Hoof ‘n’ Horn for two years, they helped bring the technical aspirations of six shows to life. They aspire to keep working with and learning from theatrical professionals in scenic production.
Ash would like to send thanks to: Dad, Belle, Katie, Gabby, Izzy, Nana, Kiki, Sena—thank you for seeing them through it all. Thanks to Torry Bend, David Berberian, Erin M. West, Marcy Edenfield, Rich Kless, everyone in Theater Operations—thank you for having their back.
What are you going to take away from your time in Theater Studies?
I’ve learned almost everything I know about theater from Theater Operations and Theater Studies. All I had to do was ask and they were ready and willing to teach me. From my second semester freshman year on, the theater was a place to land. College was hard, to say the least, but making theater made the worst days better. The department worked with me every step of the way, helping make sure I stayed on track to hit my goals, and at times, making sure I slept. Theater Operations saved my skin and my sanity on more projects than I can count. I’ve learned so much here about theater, about collaboration, about myself—Duke theater is inextricable from my college experience, and it will be a part of me forever.
Daniel Kim (Jason)
Daniel Kim (he/him) is a graduating senior majoring in theater studies with a minor in biology. He is excited to make his live theatrical debut after various short film experiences on campus and in Los Angeles. At Duke, he is reviving Duke Asian American Theater, works for the Asian American Diaspora Department, writes for the Phi Beta Kappa Quarterly, and is determined to finish his screenplay before he graduates. He also loves reading, booling with friends, and is attempting to learn jazz piano. Daniel would like to thank his Dad, Mom, Andrew, Alex, and Mochi for their love and support! He'd also like to thank his friends for their encouragement and reading lines with him, and María, Professor McAuliffe, and the costume and set designers for making this show come to life!
What has your experience on this production been like?
It has been a slightly nerve-racking but a great learning experience! I have gotten much better at memorizing lines and learned to take my guard down in front of people for my character. It was also amazing to see how collaborative the process of putting a show together can be, especially through creative theater exercises and explorations of the space. Also, the beautiful set and costumes were the icing on top of the cake.
Sarah Larkin (stage manager)
Sarah Larkin (she/her) is an undergraduate majoring in English with minors in theater studies and creative writing. She is grateful for the opportunity to work on a performance this semester—she was watching far too many bootlegs in her parents’ basement last year and is eager to continue to work on productions at Duke in the future.
What does performing live theater in this moment mean to you?
I think performing live theater in this moment shows the essential nature of art. It is not something we can live without as a society, as the expression behind it is part of human nature. Allowing art to evolve and adapt to changing times is also important, as it can allow interesting advances to the craft.
Bryant Lewis (Creon)
Bryant Lewis (he/him) is a senior majoring in evolutionary anthropology with minors in theater studies and chemistry. As a theater minor, he’s extremely excited to be doing one last show at Duke. He’ll be spending the coming year doing college advising in Durham as he applies to medical school, aspiring to matriculate in 2022. Bryant would like to thank María for the opportunity to be in the show, and Erin West for her incredible costume design!
Why do you think the arts have been so important during the pandemic?
The arts have provided an outlet to escape the current reality that the pandemic has locked us into. Whether performing, creating, or consuming creative works, anyone may figuratively interlope back into the world we once new, or even into one fabricated purely by imagination. I think we’ve all had no choice but to find something that gives us reprieve from the events that have occurred within the last year. One of my “somethings” has been acting, which to me means allowing myself to temporarily become another person and put myself aside.
Isa Mellody (messenger)
Isa Mellody (she/her) is a long-time theater lover, her passion fueled by growing up in New York City and frequenting Times Square. This is her first performance at Duke, and she hopes to continue pursuing the performing arts in her future years. You can find her on the Hoof ‘n’ Horn playreading committee or on Zoom in her next theater class! Isa would like to thank María for her amazing direction, the chorus members for dedicated hours of their time to capturing the cast on camera, and the whole cast for the unconditional support!
Why do you think the arts have been so important during the pandemic?
The day before our country was put on lockdown, I performed Anything Goes with my high school theater. This is the last memory I have of life before our new normal. I think the arts remind us both of the time before the pandemic, but also give us a way to move through it. I know I have personally turned a lot to writing and music and acting to cope with loss during this past year. When everyone was stuck in their houses with their families, often one of the ways to bond was through watching performances–whether it’s movies or television shows or anything else. In the middle of a physical virus, where we have to stay in our houses, I think everyone has been able to realize the importance of our mental well-being as well as physical. While you can treat Covid with vaccines and vitamin C, mental ailments require other solutions. The most successful one, I would argue, is art.
Austin Powers (video broadcast director)
Austin Powers is a broadly talented designer and technician whose early work in television has now come full circle. Recent Duke credits include Director of Photography for the 2020 fall mainstage, Citizen: An American Lyric, and lighting design for The Roadkill Club; at Carolina Ballet, video programming for Frankenstein and The Rime of the Ancient Mariner; and at Manbites Dog Theater, sound design for The Moors. A graduate of the Department of Theater Studies, Austin is a supervising technician with Duke Theater Operations.
Sid Richardson (sound design)
Sid Richardson writes music that imbues modern idioms with emotional grit and cerebral wit. His work explores the intersections of music and literature, drawing inspiration from a wide swath of authors, poets, and playwrights. He has contributed to the sound design of several recent productions at Duke University including The OPER& by Bill Seaman and John Supko, directed by Jim Findlay; Not 1 Day by Anne Garréta; The Roadkill Club by Valerie Muensterman; and Bad Roads by Natal’ya Vorozbit, all three of which were directed by Jody McAuliffe. Sid received his PhD in composition from the Department of Music at Duke. Active as a music educator, he has taught at Wellesley College and MIT, and is currently on the composition faculty at the New England Conservatory of Music.
Tenley Shai Seidel (Medea)
Tenley Shai Seidel (she/her) is a theater studies and global cultural studies major from Swampscott, Massachusettes—and is thrilled to be in this production of Medea. She has performed in a variety of Hoof ‘n’ Horn shows, including as Sally Bowles in Cabaret and Wednesday Addams in The Addams Family. She also serves as the organization’s community outreach co-chair. Tenley enjoys singing with the a cappella group Out of the Blue, working with the Nest Foundation to end child trafficking, and drinking lots of coffee. She would like to thank María, Sarah, Ash, Jodi, Erin, Talya, the whole Theater Studies Department, and her wonderful parents!
What are you going to take away from the production?
Being part of Medea has been one of the highlights of my time at Duke. Medea has consistently offered a supportive and collaborative environment in which we can leave the weight of the day behind and enter a new world of our creation. Medea has persisted as a story throughout history because of its fundamental emotional truth. It explores grief, isolation, community, and home—themes as resonant now as they were in 431 B.C. Medea forces the audience to question its own morality. To what extent does Medea have a choice in her story? In what ways is the community complicit in her actions? Through playing Medea, I have learned about myself, my inner-warrior, and my perceptions of strength. I walk away from this experience a stronger actor and person. I also leave with a new family—the Medea Family.
Erin M. West (costume design)
Erin M. West has worked as a costume designer, technician, costume shop manager, and wardrobe manager for various regional and university theaters. She has extensive experience designing, patterning, and building costumes for dance, musicals, early modern dramas, and modern contemporary works. She holds a BA in Studio Art from James Madison University and an MFA in Costume Design from The Mason Gross School of the Arts at Rutgers University. She has worked with Washington & Lee University, James Madison University, Westminster College, American Dance Festival, Salt Lake Acting Company, Tuacahn Center for the Arts, The Virginia Repertory Dance Company, Oregon Shakespeare Festival, and The American Shakespeare Center, among others.
María Zurita Ontiveros (director)
María Zurita Ontiveros (she/her) is a senior from Mexico City, Mexico, graduating with a theater studies major. She is a director, performer, writer, and puppeteer with training at the National Theater Institute at the Eugene O’Neill Theater Center, the Mexican Writers Guild, and the City Academy in London. She previously directed Title of Show in fall 2018, In The Heights in spring 2019, and assistant directed Tender Age at the 2019 National Playwrights Conference.
María would like to thank Jody McAuliffe, Torry Bend, Neal Bell, Darren Gobert, Erika Weiberg, Valerie and the Muensterman family, Onastasia Ebright, Julia Mendez, and Zuri and Ronnie!
What does performing live theater in this moment mean to you?
To be able to be in a rehearsal room is a gift I don't take lightly. Back in ancient Greece, the act of going to the theater served as a form of community building and communal processing of trauma (because of the constant wars). Tragedies provided a way to reflect on the grief and trauma that people experienced, and to deal with it together. For me, Medea has been that exact thing: It's been a way for me to process grief and find meaning in a very difficult time, and I am thankful for the community of artists who have put this project together. The commitment the people involved in Medea and the university have had to staying safe and following safety guidelines has been inspiring to see, and it's such a privilege to have the opportunity to put on an in-person production.