Paradox manager Anna Baker is a bit of an anomaly herself. Her acute insight into female fury seems to be at odds with Baker’s calm elegance, finesse, and warmth.
Or is it?
We meet at the Admission Office, where she is an intern and represents Reed remarkably well. Baker beams from behind the desk, and greets me cheerily.
Baker has reconstructed Heiner Müller’s Medea for the RAW stage. “Müller is an avant-garde playwright. His work is postmodern, fragmented, and apocalyptic.” Müller, born in Eppendorf, Saxony directed productions of his own in Berlin, as well as all over Germany and Europe. The playwright joined the Socialist Unity Party of Germany in 1947. In his creations, Heiner Müller “grapples with the clash of communism and capitalism.”
Our emerald-eyed director has divided Müller’s Medea into three sections. “The first and the third scenes are portentous poems.” “In the second one,” Baker says with a playful smile, “Medea describes how she will destroy [Jason]. I have also added a scene from Heiner Müller’s Hamletmachine,” or, Die Hamletmachine.
Baker’s performance will take place in Prexy as “a feminist art installation performance” with a “womblike” structure. There will be four rooms the audience can walk through, like a house tour.” Baker blends “the apocalyptic with the domestic,” in a “dark” yet “slyly humorous” manner.
“I want my audience to feel actively involved in this. I want it to be fun and rambunctious.” Baker remarks Medea was perfected through “collective decisions” among all cast members.
According to Anna, RAW is, “the best week at Reed. I live for seeing my friends work creatively, and getting to witness what they produce.”
We all look forward to witnessing Baker’s ferocious oeuvre, March 6th, at 9pm.