Simon Stone’s Medea doesn’t feel much like an adaptation of Euripides. It’s a contemporary play about a woman named Anna—an accomplished medical researcher—who kills herself and her children after her husband betrays her. No character in it is called Medea, nor is the name ever mentioned. The title is a sort of culturati PR-grab. The story is based on a true-crime incident from the 1990s that Stone felt reflected pivotal aspects of Euripides’s story. He told the producer Davi

Last Monday, about forty minutes into the final preview of Yerma at the Park Avenue Armory—Simon Stone’s breathtakingly intense Lorca adaptation from London’s Young Vic—an unhappy thud came out of the dark during a tricky scene change. The house lights rose, the show was paused for a half hour for “technical problems,” and then abruptly cancelled. I’d been rapt when the action stopped, not least because the scene just played was a pretty surprising addendum to a tale famously