Electra/Persona Review: Blanchett and Hoss in Sophocles/Bergman Mashup

Benedict Andrews' "Electra/Persona," a production at the National Theatre in London, presents an interval-free mashup of ancient Greek tragedy and modernist cinema, specifically Sophocles' "Electra" and Ingmar Bergman's 1966 film "Persona." The play, which runs until October 10, intertwines these two narratives by casting Cate Blanchett and Nina Hoss in dual roles. Both actresses portray Electra, the daughter driven by vengeance in Sophocles' play, and Clytemnestra, her murderous mother. Simultaneously, they embody Elisabeth, the actor in Bergman's "Persona" who abruptly ceases speaking during a performance of "Electra," and Alma, Elisabeth's nurse, with whom she develops a disturbing, mirrored relationship. This ambitious staging seeks to explore themes of identity, performance, and psychological mirroring through the shared and contrasted experiences of its lead actresses.

Sophocles' "Electra" centers on the titular character's quest for revenge against her mother, Clytemnestra, and stepfather, Aegisthus, for the murder of her father, Agamemnon. The tragedy delves into cycles of violence and the moral complexities of retribution. Ingmar Bergman's "Persona," on the other hand, is a psychological drama that examines the breakdown of identity. In the film, a famous stage actress, Elisabeth Vogler, inexplicably falls silent, leading to a profound and unsettling connection with her assigned nurse, Alma, as they retreat to a remote island. The film is renowned for its experimental narrative structure and its exploration of the porous boundaries between self and other, reality and performance.

Andrews' directorial approach in "Electra/Persona" merges these distinct yet thematically resonant works. By having Blanchett and Hoss share the roles of Electra, Clytemnestra, Elisabeth, and Alma, the production aims to create a dynamic interplay between the characters and their psychological states. This casting choice suggests an exploration of how familial trauma, artistic expression, and personal identity can become intertwined and reflected across different narratives. The decision to present the play without an interval underscores its intensity and the continuous flow of psychological and dramatic tension.

The review describes the production as a "show of two halves," implying a potential unevenness in its execution or impact, despite the powerful performances from its lead actresses. The juxtaposition of the ancient Greek myth with Bergman's modern cinematic exploration of psychological breakdown offers a unique theatrical experience. The National Theatre, a prominent cultural institution in London, hosts this production, which draws upon significant works of both classical theatre and influential cinema to create a contemporary piece that probes deep psychological and dramatic territory.