Review: An Oldie but a Baddie, Medea Kills It at Edge Theater    01/26/2016
Edge Theater Company took a big risk in mounting Euripides’s Medea as the first show in what it’s calling "the year of the woman.” After all, how many Denverites want to spend an evening pondering a straight-up Greek tragedy? But utilizing the clear, literate, modern-without-being-obtrusive translation of poet Alistair Elliot, artistic director Rick Yaconis and director Warren Sherrill have created something rare: a must-see production that challenges and perplexes, shows how relevant great art remains through the centuries (Medea was first shown in 431 BCE), and creates an exhilarating roar in the viewer’s head.

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Colorado Drama MEDEA Review    1/18/2016
When English playwright and poet William Congreve penned the lines "Heaven has no rage like love to hatred turned, Nor hell a fury like a woman scorned" (The Mourning Bride, 1697), he could just as well have been writing the epitaph for Medea, Euripides' famous tragedy, based on the complex mythology of the title character. But as we see in this deftly staged production by The Edge Theater Company, directed by Warren Sherrill, there is a lot more to the story than Medea's heinous acts, beginning with Karen Slack's nuanced interpretation of Medea, part sarcastic, part heart-broken, yet wholly tragic.

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Theater Colorado: MEDEA review    1/17/2016
Karen Slack is Medea, and she streaks across The Edge stage like a meteor burning brightly before smashing into the earth. Slack is "clever,” as Jason (Drew Horowitz) says; I think by that he means that she’s a sociopath with bouts of sanity.  Ms. Slack excels at both sanity and insanity, slipping easily from one to the next as needed to execute her plan for revenge.  

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REVIEW: The Edge Theater Co. presents monstrously feminist Greek tragedy "Medea" through Feb. 14    1/18/2016
Karen Slack gives a magnificent performance as the manipulative, conniving, spiteful Medea. She offers an extraordinary number of variations on the theme of a spurned woman’s revenge, and she switches extremes with a flick of her untamed hair. This has to be an exhausting role, but Slack’s performance is a powerhouse of seething emotion, an erupting volcano of toxic thoughts and irrational actions.

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