The National Theatre’s new production, Electra/Persona, starring Cate Blanchett and Nina Hoss, opened to a mixed reception, with one critic 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 haunting and thought-provoking experience but ultimately struggles to connect with its audience, according to a review of the opening night performance.

A Tale of Two Halves: Ancient Myth Meets Modern Angst

Electra/Persona is structured into two distinct parts, presented without an interval, a decision that contributes to the production’s demanding two-hour runtime. The first half draws inspiration from the classic Greek myth of Electra, focusing on her rage against her mother, Clytemnestra, for the murder of her father, Agamemnon. On the opening night, Nina Hoss took on the role of Electra, while Cate Blanchett portrayed Clytemnestra. The casting for these roles was determined by a coin toss on the night of the performance.

The second half shifts dramatically in focus and style, drawing heavily from Ingmar Bergman’s acclaimed 1966 film, Persona. This segment follows an actress named Elisabeth, played by Hoss, who has suffered a breakdown and become mute. Blanchett plays Alma, a psychiatric nurse assigned to care for Elisabeth. As the play progresses, the narrative takes a surreal turn. Frustrated by Elisabeth’s silence, Alma begins to reveal intimate details of her own life, including a story of group sex on a remote beach. The themes then evolve to explore post-natal depression, with the identities of the two women becoming increasingly blurred.

Critique of the Production and Performances

While the production boasts notable talent and a slick presentation, its narrative coherence is called into question. Cate Blanchett, known for her captivating screen presence in films such as The Lord of the Rings and Indiana Jones, is described as a fascinating figure on stage, with her distinctive features noted. Nina Hoss also delivers a committed performance, with the review mentioning her appearing to “drip in blood, sweat, and tears” at times.

The chemistry between the two lead actresses, both described as “flaxen-haired,” is acknowledged as strong. The staging, designed by Benedict Andrews, features a minimalist bank of amphitheatre steps, which is later enhanced with the use of handheld cameras to provide close-up shots. The technical execution of the production is deemed “slickly performed.”

However, the review expresses significant reservations about the play’s conceptual execution. As the narrative diverges from reality, it becomes increasingly difficult to follow. The critic suggests that the actors are left to provide “spuriously scripted explanations” for their characters’ actions and motivations, indicating a potential disconnect between the script’s intent and its clarity. The intended effect of the drama, which is to leave the audience “haunted,” is not achieved for this particular reviewer.

A Struggle with Existential Themes

The initial intrigue sparked by the ancient Greek elements of the story eventually gives way to frustration. The reviewer found themselves losing patience with what they perceived as a “muddle of existential angst” in the latter half of the play. The ambition to blend classical tragedy with modern psychological drama, inspired by Bergman’s complex film, appears to have resulted in a narrative that is, for some, impenetrable and ultimately unsatisfying.

Conclusion: Ambitious but Ultimately Unsuccessful

Electra/Persona presents a bold theatrical experiment, bringing together a star-studded cast and a director known for his work in avant-garde theatre. The production showcases strong performances from Cate Blanchett and Nina Hoss, supported by polished staging. Nevertheless, the play’s intricate and abstract narrative, particularly in its second half, proves to be a significant hurdle for comprehension and emotional resonance. While the intention may have been to provoke deep thought and lingering unease, the execution leaves the audience, or at least this critic, more bewildered than moved.