Benedict Andrews’ intense, interval-free mashup of ancient and modernist classics is a show of two halves The Electra bit of the title refers to the Sophoclean tragedy of a daughter trapped in a cycle of vengeance, the Persona part to Ingmar Bergman’s 1966 film about an actor who suddenly stops speaking while performing Electra on stage. Benedict Andrews’ drama after Bergman and Sophocles first welds the two together, then raises the concept higher by enlisting his star castings in Cate Blanchet
Benedict Andrews’ intense, interval-free mashup of ancient and modernist classics is a show of two halves
The Electra bit of the title refers to the Sophoclean tragedy of a daughter trapped in a cycle of vengeance, the Persona part to Ingmar Bergman’s 1966 film about an actor who suddenly stops speaking while performing Electra on stage.
Benedict Andrews’ drama after Bergman and Sophocles first welds the two together, then raises the concept higher by enlisting his star castings in Cate Blanchett and Nina Hoss to share the parts of Electra and her murderous mother, Clytemnestra, as well as Bergman’s inexplicably silent actor, Elisabeth, and her nurse, Alma, who fall into a disturbing, mirrored relationship.
At the National Theatre, London until 10 October
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