Thoroughly enjoyed the set design. A large golden wall menacingly loomed over the stage through the entire production. It reflected just enough for effect, and produced misshapen and powerfully defined shadows. This combined with a lack of any stage furniture lent the actors a restless energy as they paced the stage, pressed up against the cold concrete wall of the theatre. fell to the ground, or rocked back and forth on that wonderfully wood pellet-y ground. Very appropriate.
This was an excellent cast– strong voices, strong acting, and a thorough command of the language. Similarly to using the ‘empty’ stage well, they were great listeners (what I call ‘silent acting’)– staying right in the moment as other characters monologued on and on.
Oh, and this is a small thing, but I’ve seen a lot of show lately with some very unconvincing crying– all five or so actors who had to cry in this were positively dripping with genuine tears. I find that impressive.
I’ve always believed in Aristotle’s Poetics, and while I know ‘Music’ can be interpreted as far more than literally music, I think literal music nearly always adds to a production. This show made excellent use of literal music– it opens and closes with some (almost) overwhelmingly powerful sounds, and also contains a couple songs that allow that singing characters the opportunity to exude buckets of information on their emotional states.
Electra was insane! Kelli Holsopple plays the hell out of this part. In the moment you’re right with her thinking ‘oh yeah, well of course your mom was wrong to try to rescue your sister from your father sacrificing her to the gods’, but take a step back and of course you realize– “what a normal reaction for any mother to have!”
Because there were so few props, an extra level of intensity seemed to land on the small urn that’s meant to hold Orestes’ ashes. All characters who touched, spoke of, or stared at this urn were magnetic to watch. Side note: I imagine the speech Electra gives while holding the urn went on to inspire Shakespeare when writing Hamlet’s ‘Alas, poor Yorick’ speech.
The Greek Chorus as a single character was well-used and provided a nice way in to the story.
Good story Sophocles! Which I guess also means good translation Anne Carson! I can see why this play has lasted so long. I wasn’t familiar with the plot at all, and found most of the reversals to feel well-earned and surprising– no easy feat when you consider the vast number of plotlines I’ve consumed compared to an ancient Grecian. One reason I think this still holds up even today is that we are still horribly deprived of strong stories with a lead female character that aren’t centered on her finding ‘true love’. This is a revenge story, and one very specific to Electra as a believable female living within her station and all that that entails. Oh, and I imagine the original play is longer than this– the hour and a half here flew by and felt like about the right length for the story.
While the lack of conventional seating or stage furniture was mostly well-used, Electra spent far too much time down on all fours weeping or writhing. Actually, this speaks to a larger point:
Electra goes too crazy too quickly. Pretty early on in the show you see her reach a level of irrationality that is hard to top, and she doesn’t. Then most of the play continues with her in a state of emotional extremes– super sad, super angry, super crazy… I would have appreciated more of a build.
Some of those monologues just go on and on, and while I understand this was typical of the time, I just can’t suspend my disbelief to think Electra’s mother would let her rail on her for so very long completely uninterrupted. Page Clements did her best with this– listening and reacting– but seriously, no one (even in ancient Greece) would let that kind of verbal assault continue uninhibited.