As Bloomsbury Theatre kicks off its first major event of the term, director Aria Singh-Bernath and treasurer Alexander Esslemont promise a production that revisits the rules of theatre and drama. The show runs from the 20 to the 22 November.
The production’s defining feature is its refusal to offer a simple rendition of Medea; instead, it reinvents the play altogether. Set under the sweltering sun of colonial India, the story takes on an innovative, intimate and thought-provoking resonance. Euripides’ tragic heroine is reimagined as an Indian woman navigating the confines of empire, gender, and tradition. With British colonialism as a backdrop, the play reframes the Greek tale of betrayal and revenge into a story about the marginalisation and cornering of South Asian women.
To get to know what’s on the menu for this year’s production, The Cheese Grater interviewed several contributors to the production. From directors, to media managers, to actors, every creative mind involved offered insight into the play’s striking concept.
The idea for the adaptation, the crew explained, came from a desire to create something unique — something that would “stand out from the other plays that have been done at UCL.” For Singh-Bernath, a second-year Media student, the play became an opportunity to connect her heritage to the project. She recalled stories from her grandmother about the struggles of Indian women under colonial rule and the lingering effects of these histories. “I used a lot of my familial roots to ground the play in history,” she explained.
Lily Doniza, the production’s social media and marketing manager, similarly stressed the importance of personal narratives in historical adaptation: “I always ask South Asian members of the crew for input to ensure I’m not misrepresenting anything. Authenticity is crucial. It’s a unique adaptation, and I don’t want to rewrite it through my own lens — it’s not my story.”
The production brings together the grandeur of Euripidean tragedy with the vitality of Indian culture. Musicality is central; Singh-Bernath noted that the chorus “reflects the individual struggles of each character — a quandary of integration, assimilation, identity and celebration of culture.” The play will also feature dancers performing traditional forms, including Kathak. Costumes, some imported directly from India, are integral to the visual storytelling.
When asked about concerns regarding cultural appropriation, Esslemont responded that appropriation would “imply that we would be disrespectful to the culture, which is far from what we’re doing.” He emphasised that the play is cross-cultural, introducing audiences to Indian culture in a way that encourages appreciation.
Doniza agreed, noting that the production’s strength lies in the synergy of its distinctive elements: “We’ve organised events like a fashion show to highlight the beauty of South Asian clothing and collaborate with designers and fashion communities. The goal is to show how vibrant and cool Medea is — combining culture, fashion, and music to create something inclusive and exciting.”
Singh-Bernath also highlighted that she is an Indian woman and that much of the cast is South Asian. “The whole ethos of our play is to embrace culture,” she said, “and for people who feel that their national origin might be a hindrance to their career, to come forward and be embraced. It fits into UCL’s “Global University” ethos.”
Several leads are freshers, something Esslemont views as significant: such opportunities can “help them find their footing in a society that’s so strong and has so many opportunities. First years come in with a blank slate.” Flynn echoed this sentiment, describing the production as her “first proper venture into the UCL community,” illustrating the connective power of the play’s inclusive and multicultural approach.
The lead roles of Medea and Jason, played by Isabelle Flynn and Naafez Ahmed, further illustrate the power of personal connection. Flynn explained that the re-contextualisation immediately drew her in: “Being South Asian myself, the story felt much closer to home. Making Medea an Indian woman made so much sense to me because she’s such a regal, complex and powerful character.”
Ahmed, who plays Jason, was intrigued by the duality of his role: “To tap into my roots and take on a character defined by manipulation felt a bit contradictory, but it made the role much more interesting to explore.”
Both leads also emphasised the intelligence of the writing. Human and touching, yet confronting enduring racial stereotypes and colonial legacies, this reimagined Medea offers a complex interplay of perennial themes.
As Ahmed noted, “The reimagining was incredibly smart. To mirror that ancient conflict with something not too distant from current times. Colonialism is still such a big topic.”
Doniza placed this resonance in the broader context of her Media Studies background: in an environment that actively engages with diversity and identity, media that embraces this awareness is well-received. “Adaptations like this allow people of that ethnicity to feel seen and represented. It also reflects our time and the director’s own comfort and perspective,” she said.
Looking ahead to audience reception, the cast and crew expressed a range of hopes. Flynn hopes viewers recognise Medea’s sanity and groundedness amid the chaos: “I hope anyone who watches acknowledges this vulnerable, wounded part of her, though it doesn’t absolve her of wrongdoing.” Doniza pointed to the central theme of revenge —specifically maternal vengeance. “While I hope audiences enjoy the production’s visuals and performances, at its core it’s a story of revenge and tragic love.” Esslemont echoed the production’s ethos of boldness: he hopes the audience leaves feeling that the play is “outrageous,” adding that their mentality has been to “be bold, be different, and break stereotypes.” Singh-Bernath concluded with her hope that the production will “invite future people at UCL to get involved and to think creatively.
