Nazli Tabatabai-Khatambakhsh is Professor of Dramatic Writing and Associate Artist (Guildhall School of Music & Drama), Associate Director (Sanctuary Queer Arts), and Associate Artist (Oxford School of Drama). Their portfolio as a director and dramaturg spans opera, theatre, dance, circus and includes experimental page and performance poetry.
Nazli Tabatabai-Khatambakhsh presents Scotland with a brand-new feminist, queer re-examining of the epic Greek tragedy, on the Òran Mór stage from Monday 10th – Saturday 15th Jun. The world famous A Play, A Pie and A Pint presents MEDEA ON THE MIC – Nazli Tabatabai-Khatambakhsh after Euripedes, but funnier.
Tell us about Medea on the Mic
It’s about keeping your sense of humour. Regaining control of your narrative. It’s about pleasure, desire and multiple truths. It’s an offer of surviving being gaslighted and despite it thriving, becoming yourself.
What can you tell us about your role in the production?
The words, I’m the writer, the playwright – a collaborative one!
What were your motivations for examining the classic play, Medea?
I was at a time in my life where I needed to make sense of things and she, Medea, seemed to be the kind of companion/guide I needed – she’s displaced, has a sense of humour and is grappling to define her own narrative.
What can you tell us about the other characters in Medea on the Mic?
They are all queer and in the multiples of that and how it’s always shifting: There’s Medea, Jason, Chariot Queen and a trio of Nuns who have a penchant for 3D Films.
You have worked and presented work all over the world, how does it feel to be returning home to Scotland to present a brand new play?
It is a beautiful embrace to be opening the show in the city where I have written much of it and especially as it is a city where freedom of expression matters deeply.