“Duke has a theatre director’s instinct for clear communication, but a dancer’s deftness in the way he moves between moods, scenes and characters, music, text and movement; the deeply poignant deflected by a joke (such as an anachronistic quip about Medea teaching pilates). Dance is used to get inside a moment and expand it, making visible the forces of lust, power, attraction, obstruction, struggle and fate, like the gods working with or against mortals at their whim.”

*****

“It’s a rare treat to see a show that tickles your funnybone, messes with your head, breaks your heart then comes back to haunt your dreams. But Lost Dog’s fresh take on the myth of Medea is the real deal: a potent brew of dance, drama, music and glorious stage-scapes, with a GSOH to boot.”

*****

“The sense of anything-goes surprise is crucial. So let’s just say that this show playfully(towards the end, very bracingly) recasts the famous myth of female vengeance as aberserk courtroom drama that embraces maternal love, male cravenness and self-delusion, and plenty more besides, playing out on a razor’s edge between humour andhorror and giving you heaps to ponder. The cast acquit themselves superbly, with MayaCarroll first among equals as a dancer, but Hannah Shepherd’s Medea shattering in herclimactic speech.”

****

Duke disassembles existing stories and remakes them in his own style. He domesticates myth and skirmishes with the mundane before rising to operatic heights of expression through movement, language, sound and vision.Anyone seeking a corrective to the festive overload of Santas, elves and Sugar Plum Fairies should look no further”

*****

“Medea gets a brilliant update through dance”

****

“Lost Dog have created a Christmas show like no other. This inventive and alternative experience is not to be missed. The talent and energy was inspiring and despite the tragic ending, this show provides the hope and joy of witnessing an extraordinary theatrical production.”

*****