‘Elektra’ Theater Review: Brie Larson Makes West End Debut in Messy, Misguided Take on Sophocles

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In this scenario, let’s consider a solution: When a well-known Hollywood actor is set to make their West End debut in London with minimal theatrical background, how can we alleviate any doubts – be it the actor’s or the audience’s? A practical approach would be to equip her with a handheld microphone for the entire performance.

If an experienced Hollywood star is new to the West End and has little theater experience, one way to ease concerns (for both the actor and the audience) is by providing them with a handheld microphone throughout the play.

Well, no, you don’t.

Additionally, Daniel Fish’s decision to equip Brie Larson‘s Elektra with a hidden microphone is supported by more than just practical reasons. The character, with her buzz cut and Bikini Kill T-shirt, is portrayed as a rebellious, provocative figure who carries an air of intense anger and disdain. She uses the microphone to insult her mother and vent her frustrations towards the world, even adding Laurie Anderson-esque amplification effects for dramatic effect. This, along with her spitting into the microphone at the mention of those she despises, creates a peculiar sense of satisfaction.

Furthermore, during performances, the choir frequently uses microphone stands and occasionally assumes rock-star poses while delivering their lyrics. This is simply part of their act and strategy.

Despite Elektra, played loudly and energetically by [Actor’s Name], overpowering her softly spoken co-stars – Marième Diouf as Chrysothemis, Stockard Channing as Clytemnestra, and others – the disparity in volume creates an uncomfortable and frustrating effect. Moreover, throughout the 80-minute performance, Larson never seems to lower the microphone, even during Elektra’s most subdued, defeated scenes. This raises questions about whether the amplification is part of the character or if it’s a choice made by the actor themselves.

Essentially, this interpretation falls short due to its numerous distractions, making it both intriguing and confusing. The 2019 production of Oklahoma! by Fish was a massive success in both Broadway and London, largely due to its bold revisions. However, the enchantment that characterized that production seems absent here. Regardless of intent, Fish’s adaptation of Sophocles’ tale, Antigone, fails to achieve two crucial objectives: it lacks the necessary tragic impact (in fact, it is rather unengaging) and struggles to establish a connection, despite Anne Carson’s vibrant modern translation.

Currently, the works of Sophocles are experiencing a trend in London, with stunning and aptly dramatic results so far. Recently, there have been two productions: Alexander Zeldin’s modern interpretation of Antigone, titled The Other Place, starring Emma D’Arcy, which relocated the intense passions and transgressions of myth to a contemporary English household. Additionally, Robert Icke’s Oedipus featured Mark Strong as the tragic king in what appeared to be a UK general election. Both productions were remarkably original while maintaining the dark, gripping, and emotionally charged elements that characterize their source material. Moreover, both works mirrored a contemporary crisis of family, politics, and society that resonates with today’s issues.

The fish appears to be trying to find something similar, but it’s not clear exactly how it’s doing this, as its methods seem confused and overly elaborate.

Indeed, the situation is quite unusual: Elektra is driven by a thirst for brutal retribution against her mother, who along with her lover Aegisthus (Greg Hicks), murdered Elektra’s husband Agamemnon upon his return from Troy. While Elektra’s brother Orestes (Patrick Vaill) also harbors a desire for revenge, he chooses to remain hidden. In the interim, she feels imprisoned, unloved, and uncomprehended in the household of the two individuals she longs to see perish.

Unlike Hamlet, who grapples with indecision and a complex emotional connection towards those involved in his predicament, Elektra is unwavering in her quest for revenge and shows no mercy towards her parent. In contrast to Hamlet, whose righteousness is questioned due to his father’s murder being motivated by political power rather than personal vengeance, Elektra’s justice is compromised because Clytemnestra killed her husband out of similar impulse – retaliation for the brutal killing of Elektra’s sister. The play’s chorus, representing Elektra’s friends, caution her against perpetuating a violent cycle, but their warnings fall on deaf ears.

She can be challenging to appreciate as a character, but in the previous play’s performance a decade back, Kristin Scott Thomas, reprising her role under director Ian Rickson, added a touch of humor to her portrayal. This made the character seem more complete and stable, despite her fixation.

Fish and Larson have chosen to emphasize Elektra’s anger and exasperation, a decision that certainly influences her riot grrrl T-shirt and punky demeanor. However, this doesn’t necessarily mean it’s a feminist portrayal, rather a more aggressive one with some theatrics: a device that splatters black paint on the actors (Larson ends up with a wide smear across her neck as an additional element), sudden blasts of music that seem to appear out of thin air and, without any clear purpose, microphones.

It’s unfortunate that despite the exceptional translation, the performance sometimes lacks depth and variety. Moments can be emotionally powerful, such as the heart-wrenching line “No rest, no retrieval, no number for a grief like this,” but they are also followed by colloquial or humorous lines that seem out of place, like calling Clytemnestra a “howling bitch” or a line reminiscent of an American teen movie, “Why not run and tell all this to mother.” These contrasts make the performance feel disjointed.

However, Larson’s performance shines when she sings Carson’s poetic lines, demonstrating her vocal range. She also manages to find the irony in the text at times. But overall, her delivery is flat and monotonous, which takes away from the intended emotional impact.

Channing transcends the chaos with an air of dishevelment in her fur coat, portraying Clytemnestra as weary and cautious about her daughter’s intentions, yet maintaining a regal aloofness. Her prayer to Apollo is captivating. It’s unfortunate that there isn’t more screen time for her character or for Hicks’ ominous and eerie portrayal of Aegisthus.

Vaill, renowned for his role as Jud Fry in Fish’s Oklahoma!, doesn’t get a lot of opportunities to shine playing Orestes. However, he excels as an untrustworthy messenger, delivering a captivating monologue where he falsifies the details of Orestes’ supposed death during a chariot race. The chorus, a group of stunning vocalists who create the most intriguing visual impact in a minimalist setting with their attire of satin and trainers, heighten the drama whenever they dispense their often-neglected words of wisdom.

The production is taking place at the Duke of York’s Theatre, located in London. The talented cast includes Brie Larson, Hannah Bristow, Stockard Channing, Wallis Currie-Wood, Marième Diouf, Jo Goldsmith-Eteson, Greg Hicks, Nardia Ruth, Rebecca Thorn, Patrick Vaill, and Adeola Yemitan. The play is a translation of Sophocles’ original work by Anne Carson. Daniel Fish serves as the director, while Jeremy Herbert takes care of set design, Doey Lüthi handles costume design, Adam Silverman manages lighting, Tim Hearne creates the music, and Max and Ben Ringham are in charge of sound design. The presentation is brought to you by Empire Street Productions.

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2025-02-06 23:27