The National Theatre’s new production, Electra/Persona, featuring acclaimed actresses Cate Blanchett and Nina Hoss, has opened to a mixed reception, with one review finding the ambitious two-part drama more confusing than compelling. The play, which blends ancient Greek tragedy with a modern psychological thriller, aims for a profound exploration of identity, trauma, and silence, but ultimately struggles to connect with its audience.
A Tale of Two Halves: Electra and Persona
Directed by Benedict Andrews, Electra/Persona is presented without an interval, running for approximately two hours. The first half delves into the classic Greek myth of Electra. On the opening night, Nina Hoss took on the role of Electra, a princess consumed by grief and rage over her mother Clytemnestra’s murder of her father, Agamemnon. Cate Blanchett portrayed Clytemnestra. The narrative then transitions into the second half, inspired by Ingmar Bergman’s seminal 1966 film Persona. This segment shifts focus to Elisabeth, a stage actress (played by Hoss) who has suffered a breakdown and become mute. Blanchett plays Alma, a psychiatric nurse assigned to care for Elisabeth, who finds herself drawn into a complex and increasingly blurred relationship with her patient.
From Myth to Muteness: A Disconnected Narrative
The transition from the ancient world of Electra to the modern psychological landscape of Persona proved to be a significant hurdle for some viewers. As Elisabeth’s silence deepens, Alma, the nurse, begins to reveal increasingly personal and unsettling details of her own life, including a past sexual encounter. This narrative turn, intended perhaps to explore the porous boundaries between therapist and patient, or the unraveling of sanity, instead led to a sense of narrative fragmentation. The play attempts to weave together themes of post-natal depression and shifting identities, but the connections between these disparate elements became increasingly obscure.
Performances and Production: Strengths Undermined
Despite the narrative challenges, the production boasts strong performances from its lead actresses. Cate Blanchett, known for her captivating screen presence in films such as The Lord of the Rings and Tar, brings her characteristic intensity to the stage. Her physical performance, described as visually arresting with her features taut against her cheekbones, commands attention. Nina Hoss, who also starred alongside Blanchett in Tar, delivers a powerful performance, at times appearing to “literally drip in blood, sweat, and tears” as she embodies the suffering of her characters. The chemistry between the two flaxen-haired actresses is palpable, adding a layer of compelling tension to their scenes.
The production itself is noted for its slick execution. The set, designed as a bank of amphitheatre steps crafted from MDF, provides a versatile space. The use of hand-held cameras to provide close-ups further enhances the visual experience, offering intimate perspectives on the actors’ performances. However, these technical and performative strengths were ultimately unable to salvage a script that veered into abstraction.
A Hauntingly Unfulfilled Promise
The core issue identified in the review is the play’s failure to achieve its intended emotional impact. While the audience is seemingly meant to be “haunted” by the unfolding drama and the existential angst it explores, the experience instead left one critic feeling impatient and disconnected. The narrative’s departure from reality, coupled with what were perceived as spurious explanations for the characters’ motivations, rendered the story impenetrable. The play’s ambition to provoke deep thought and emotional resonance was, in this instance, not realized, leaving the audience adrift in a sea of existential confusion rather than profound contemplation.
Conclusion: A Thought-Provoking but Flawed Endeavor
Electra/Persona presents a bold, albeit flawed, theatrical experiment. It pairs two formidable actresses in a production that is visually polished and energetically performed. Yet, the ambitious fusion of ancient myth and modern psychological drama results in a narrative that, for some, becomes lost in its own complexity. While the performances of Cate Blanchett and Nina Hoss are undoubtedly highlights, the play’s ultimate success hinges on its ability to translate its challenging themes into a coherent and emotionally resonant experience, a feat it does not fully achieve.
