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Inside No. 9

Series 1, Episode 6 - The Harrowing

villainesses

“Helen McCrory is at the peak of her power. She is a marvellous Medea. When she first enters in combat trousers, scrubbing at her teeth as if they were enemies, her voice is deep and guttural. Each syllable seems to have been wrenched from her insides. She goes up a register and tightens her delivery once she has fixed on her terrible plan: to revenge her husband by killing her children. It is as if she is relieved to have reached the moment of greatest desperation.

McCrory has always been a gracefully physical actor, whether sauntering in white lace towards the samovar in Uncle Vanya or jagged with boredom in Simon Gray’s The Late Middle Classes. She is fluent in different kinds of movement here, too: wild as she squats to haul things up from an underworld source, slinky and knowing as she meets her ex-husband in a surprising kiss, defiant as she squares up to the world with her plans. Yet it is the range of her voice that is so extraordinary, and that lets you into the centre of her despair. There is, after all, no surer symptom of depression than vocal flatness.”

Helen McCrory in Euripides’ Medea (2014, National Theatre)