Tag Archives: Frank McGuinness

“Electra” at the Old Vic

Frank McGuinness’ version of Electra is currently playing at the Old Vic. Directed by Ian Rickson, with satisfying confidence, this no-nonsense version of Sophocles’ tragedy, about a daughter’s revenge on her mariticidal mother, is direct and powerful.

This is a fine production with Kristin Scott Thomas in the title role. She’s the star attraction, but it should be stressed that the whole cast is strong. Diana Quick is suitably regal as the detested mother Clytemnestra and Jack Lowden gives a moving depth to Electra’s prodigal brother Orestes.

Hauteur has been a career specialty for Scott Thomas and, since Electra is a princess, it’s used to advantage here. But this is a remarkably earthy performance, free from vanity and physically charged. She is dynamic, pacing around as if caged. Even when on the ground, little of her body touches the earth. Convulsed with grief, every muscle is expressive. And animalistic: her centre of gravity is low and every sense heightened to suggest a hunted figure. This intimation of the feral doesn’t disappear with a cry of joy as Orestes reappears – Electra sniffs her brother as if to confirm that he is one of her brood.

As well as its easy appeal, McGuinness’ text gets to the heart of the tale with efficiency. Along with the horror of the story, dilemmas are presented cogently with an emphasis on religion that Rickson develops.
Quick and Lowden both represent the questions surrounding their bloody family legacy well. The urgency of Electra’s need for justice, which creates a manic “fire in her head”, is balanced with cogent arguments, delineated by Scott Thomas with eviscerating intelligence.

Until 20 December 2015

www.oldvictheatre.com

Photo by Johan Persson

Written 8 October 2014 for The London Magazine

“Damned by Despair” at the National Theatre

In case it doesn’t become apparent, Tirso de Molina’s Damned by Despair is a theological exploration of salvation. It parallels two protagonists – a vile criminal who enters heaven because of his faith and a pious hermit who is guilty of pride, then despair, and ends up in hell. In the hands of director Bijan Sheibani, it’s hard to imagine who on earth would find this interesting, but on the off chance that you have a passion for counter-reformation theology, be warned – stay at home and read your catechism, as this production is truly awful.

The first flaw is Frank McGuinness’ adaptation: full of bizarre anachronisms that prevent it sounding modern but isolate the play from its historical context, it is jarring to the point of distraction. While Tirso’s play is predictable throughout – it has to be to prove its point –what’s remarkable is Sheibani’s inability to add any drama. There’s plenty of running around in circles and shouting, and lots of violence, but no tension at all. Even worse, both the text and production rob the play of any complexity.

What adds to one’s annoyance, and surprises for the National Theatre, particularly given this cast, is that not even the performances can be praised. Only Amanda Lawrence, who plays Satan, really holds the stage, despite this being a play where the devil doesn’t get the best lines. Rory Keenan gets a few laughs as the Monk Paulo’s devoted servant but, along with the immensely talented Bertie Carvel, seems woefully miscast. The ensemble in particular, who take on the role of various criminals and the police, couldn’t be less threatening if they tried. This dire production limps from failure to failure, damned by despair indeed.

Until 17 December 2012

www.nationaltheatre.org.uk

Photo by Brinkhoff/Moegenburg

Written 15 October 2012 for The London Magazine