‘Si Medea’ is made up of two adaptations, ‘Madiya and Maida,’ staged back-to-back, using the same set
Madiya as such is not just Bikolana transposed into Katagalugan, but also priestess made to conform to “normalcy” whatever that might mean. The greatness of this adaptation is in the fact that where the shifts needed to be palpable (between one character to another, one language to the next), the narrative itself allowed for the creation of one Madiya who was credible and real in —and despite—her psychosis.