A new version of an ancient Greek tragedy opens at the Everyman next week. Laura Davis reports

LONG before the bra-burning, railing chaining and hunger strikes came Medea, a powerful female for whom suffragette Emmeline Pankhurst’s argument of the broken window pane would have rung true.

Euripides’ play of the princess cast aside for a younger woman was first performed in 431BC but it continues to speak loudly in our so-called post-feminist times.

As female theatrical roles go, Medea has to be one of the most powerful. Cast aside by the husband for whom she was prepared to commit fratricide, she turns to the most violent means to wreak revenge.

Getting under the skin of this charismatic but vengeful woman has been a pleasure for actress and model Nina Kristofferson. “She’s full of energy and passion and hatred and love,” she says. “She’s quite full of angst and seeks revenge in the most horrific way possible by killing her children.

“It’s fascinating because I wouldn’t know what it’s like to kill my children. I don’t have children and I’ve never killed anyone. But I certainly can bring the idea of relationships failing badly.”

According to the Ancient Greek myth, Medea helped Jason in his quest for the golden fleece in return for the promise that he would take her away with him after emerging victorious. If it hadn’t been for her assistance in completing a series of tasks set by Medea’s father Aeertes, he would have fallen at the first herdle.

Then, after escaping – which was pretty much thanks to Medea too as she murdered her brother as a distraction to their get-away – Jason’s head was turned by Glaun, the daughter of King Creon of Corinth.

It’s a situation, minus the dark magic and ancient gods, that women across the centuries have found themselves in – support the husband while he betters himself, then find themselves thrown over for a newer model.