By Natalie Bennett

The Union Theatre, though modest in appearance and resources, puts on some very fine shows. The London Ensemble’s interpretation of Medeia, which opened this week, is, unfortunately, not among them.

The problem, perhaps, started with the concept, stated in the programme as being to provide an “accessible new version” of Euripides’ account. That means you get the language of the great ancient tale of the human condition reduced to the sort of psychobabble you find in the “women’s pages” of middle-market newspapers.

So Aigeas tells Medeia, in an apparent attempt at consolation, that Kreon’s decision to leave her is just men being men: “Any man would do the same – a younger model comes along.” Medeia laments to the chorus of Corinthian women “I thought I’d find my feet here”, but assures them she’s not against them: “It is my husband I have issues with.” Kreon assures Medeia: “It’s not in my nature to be a bully.” The language never gets beyond cliche.

And the production is big on exposition – telling the tale rather than showing it – just in case any member of the audience should not be aware of the story. That which should be left unsaid, left to hang in the air, is said, or rather shouted – for this is a production big on ranting and raving.

So. I feel at this point I should say something positive. The female chorus is used quite effectively – the collection of half-horrified, half-fascinated matrons flutter around the distressed Medeia like a small-town bridge group. The live music and sound effects are nicely done by Ximena Garcia Vera, Jonathan Bidgood and Patric Deony.

Harriet Muller is effective in her short appearances as Glauke, played as a frivolous young girl, sexiness in every line of her body, so much so that you can almost – but not quite – forgive Iason (Scott Ainslie), who is otherwise played as out-and-out slimy villain. Philip Leamon, as the teacher and Aigeas, shows a talent for comedy, although it looks as though he’s wandered in from a light drawing room comedy in the next theatre.

And then there’s Jackie Kane as Medeia, who seldom leaves the stage and is certainly powerful in her domination of it. But she’s never quite evil, never quite distressed, just a whirl of emotions that doesn’t seem to change, develop, or achieve any sort of resolution.

Really, don’t judge the Union by this production.

The production continues at the Union Theatre until March 31. With online booking or box office on 0207-2619876.