Tag Archives: Anne Carson

“Elektra” at the Duke of York’s Theatre

Having a star in your show (and the ticket sales they bring) might, understandably, give a production confidence. This new version of Sophocles’ play has chutzpah – let’s give it that. But a lot the bravado is superficial, and I fear its celebrity casting – in this case Brie Larson – doesn’t come out as well as she deserves to.

The driving force for the production, and by far the best part of it, is the chorus. This sextet (Hannah Bristow, Wallis Currie-Wood, Jo Goldsmith-Eteson, Nardia Ruth, Rebecca Thorn and Adeola Yemitan) are present all the time, both narrating and responding to the action. They sing throughout, and Ted Hearne’s compositions are superb. Anne Carson’s script is strongest in the lyrics. And, importantly, the songs are good deal clearer than when the performers speak.

Elektra-credit-Helen-Murray

If the chorus brings the audience, other onlookers, close to events, it is worth remembering that there is a big world full of powerful people in this play. Carson fails to explain this, removing the action so far from its context, without providing an alternative, that it causes confusion. Most of the performers suffer: Stockard Channing plays mummy Clytemnestra, Marième Diouf and Patrick Vaill are Elektra’s siblings, and there’s a brief but powerful turn from the excellent Gregg Hicks. They all seem a little lost – and that’s an awful lot of talent to waste.

To add to the injury, the performers are put through the mill by director Daniel Fish. The stage revolves. The costumes are ungainly. There are a lot of microphones and a blinding light. And everyone is sprayed with some black fluid upon entrance. The atmosphere is one of experimentation. But these are experiments most will have seen before. To be fair, Fish uses all of the huge space (there’s a lot of dry ice). And while I hope Larsen is enjoying the experience, when it comes to her role, no one suffers more than her.

This isn’t a one woman show. The chorus is too strong for that and Larsen is a generous performer. But the focus is too much on the titular character which, ironically, makes Elektra weaker. Placing her in some kind of performance art space with touches of a spoken word open-mic night doesn’t just date the production, it diminishes her rebellion. Take Elektra’s singing: she sings the word ‘no’ (and Elektra says ‘no’ a lot). The point of it, as with many of the production’s bizarre movements, is a puzzle and it should be obvious that it will tire quickly. But it also means that Electra’s “destroying tongue” – her power – does not convince. And that is a tragedy.

Until 12 April 2025

www.elektraplay.com

Photos by Helen Murray

“Bakkhai” at the Almeida Theatre

With the first instalment of the Almeida’s Greek season, Oresteia, having announced a West End transfer, Bakkhai, has a lot to live up to. James Macdonald’s production of Euripides’ play is a traditional affair that takes us close to the original. bringing an opportunity to learn something deeper about Greek drama and its power. Vastly different from Oresteia’s contemporary take, the show makes a great contrast and confirms the season is one of this year’s theatrical highlights.

Marked by a strong sense of purpose, Antony McDonald’s simple design and Peter Mumford’s lighting accompany a clear and concise text from Anne Carson. Both Carson and Macdonald have a powerful appreciation of the dichotomies embraced by the religion at the heart of the play, explaining the concept of a daimon and its implications for Dionysus’ crazed followers. Macdonald’s grip never falters as he crafts the tension and explores the consequences of hubris. Most notable is the primary role of the Chorus and music in the show – nearly half of the production is sung.

The star attraction is Ben Whishaw, heading up the excellent promotional photography, and perfectly cast to bring out the complexities of the god, with flowing hair and fey gestures transformed into something sinister in a moment. As with his fellow performers, Whishaw takes on other roles admirably, but Bertie Carvel gets the best of this tactic, playing the ruler Pentheus with confident efficiency, then his mother Agave, with a visceral turn that puts the ghost of his Miss Trunchbull from Matilda to rest. Joining them is Kevin Harvey, whose roles include Cadmus, holding his own and making him an actor that joins my list of ones to watch.

It is the ten-strong Chorus that makes this Bakkhai one to celebrate; singing a capella throughout, with music credited to Orlando Gough. The sound is both otherworldly and tribal – an invigorating mix that keeps you guessing, veering from the frightening, almost repulsive, to strangely beautiful melodies. The singing acts as an exposition of the religion the women follow. The acting is strong, bearing in mind that mass ecstasy is a big ask. It’s when they comment on events and respond to the story that they really move you, showing a clear idea of the Chorus’ role in Greek theatre. Now, as then, the group draws in the audience, making us part of a truly powerful show.

Until 19 September 2015

www.almeida.co.uk

Photo by David Stewart