My next show is Elektra currently playing at the “Duke of York theatre”. Which transferred after its very short run at Theatre Royal Brighton from 13th to 18th January 2025. The show started its 11 week run at the Duke of York theatre on 24th January and is currently scheduled to close on 12th April 2025. The show has a running time of around 75 minutes with no interval. Which as mentioned before is a format I really enjoy for a West End show. This particular production has been translated by Anne Carson and directed by Daniel Fish with Hollywood star Brie Larson in the tile role. More on her later.
I watched this production on the evening performance starting at 19:30 on the 3rd February 2025. I did forget how small the Duke of York theatre was and as a result I don’t believe there is a bad seat. However for this production I choose Row A seat 8 in the Royal circle. The main reason for this seat choice was due to the little to no rake within the stall of the theatre. It happened to be that when I booked the show earlier in the day this solo seat was available. As it did not disappoint as per the below image you see there was a fully uninterrupted view of the whole stage.
For those who are not aware of the origins of Elektra. This is Anne Carson adaptation of the Ancient Greek story complied Sophokles. This production keeps the orginal character names. Here is very brief outline of the story while introducing the actors partying them in this production.
The story is based around the death of Agamemnon and the revenge that his daughter Elektra (Brie Larson) is seeking from her mother Clytemnestra (Stockard Channing) and her new lover Aegisthus (Greg Hicks). While involving and dragging her brother (Patrick Vaill) and sister Chrysothemis (Marième Diouf) along. All the time supported by Elektra chorus made up of (Hannah Bristow, Wallis Currie-Wood, Jo Goldsmith-Eteson, Nadia Ruth, Rebecca Thorn and Adeola Yemitan).
This particular adaption did not seem at all story driven. I am not sure if that is due to the orginal story lacking any depth. However Anne Carson was not able to add any during this production. Although short in run time did at points scenes seemed to drag as if to use up the running time rather than progressing the story. Of which from my understanding there was not much of. With no real start, middle or end. The whole play is a slow plod to the final confrontation with their fathers murder. A very basic storyline that was not advanced on at all. There was lots of dialogue however it was not used to add or progress the story.
The direction and general production had lots of unique theatre tricks. However were seemed to become more gimmicky due to the lack of progression of story. The production style and direction was the only thing that kept the show alive. With lots of tricky and different direction and media use which is not seen in a traditional play, of which this was not. However instead of using this theatric/direction differences sparlying throughout the play. The whole production relied on it and was the only thing it was giving the audience.
The main theatrical gimmick One of the these theatrical gimmicks was the use of a hand help microphone used by Brie Lawson throughout 90% of the show. Instead of using it on the odd occasion to add emphasis, which I have seen in other plays, it was used all the time. The use of a second microphone was an attempt to emphasis certain points however just seemed more random than useful. There was also a use of effects pedal which changed the vocals of the main microphone however again did not add anything just pull the audience out of whatever train of though Elektra was having at the time. I felt that the constant use of this microphone took away from the show instead of adding. For example due to the use of the microphone by Brie Larson any other actor on stage who was using a normal stage mic seemed to be very quite. I don’t thin this was a sound level issue but just the comparison between a handheld mic and normal stage mic. As well as creating a one dimension performance, on which I will explain more later when discussing Brie Larson. Only having one actor using a handheld microphone created a barrier when interacting with other actors. It hindered the performances between the great cast as they were unable to bounce of each other and each exchange seemed stunted due to the microphone.
The direction choice of a almost constant spinning centre stage also hindered the play part of the production as actors were rarely opposite or facing each other. As a result also unable to bounce off and perform with each other. An interesting choice and again if used more sparely could have been effective. Along with the direction choices the set design or lack of set also hindered the play aspect of the production. While it was an empty Duke of York stage apart from a white back sheet is used as the “set”. The lack of set pieces meant that the whole stage was exposed which resulted in no wing or backstage space for the actors. Which meant for most of the play the actors were on stage on benches at the back of stage like they were on a sub bench for a football match. As the play progressed they eventually peeled of stage.
Due to the lack of set the importance of lighting become more apparent. The lighting played a critical part in attempting to dictate some kind of story line by hinting at scene changes. Which worked well but again was hindered by the total lack of story and story progression.
As well as lack of set there was not a huge use of props either. Which is not normally the case when a production lacks set it makes it p with prop usage. However this production did not. There multiple chairs and mic stands many used by the ensemble (More on those later). As mentioned before the microphones were critical however overused and did not provide the effect I assume they were trying to achieve. One prop which was very interesting and unique was the black spray painting machine. Which when used live spray pained a black line across the white backdrop. Which was proved to be real as it dripped down when raised above the stage for the rest of the prodcution.
The black line was used throughout the costume design as well. I assume for some symbolic reason which was not broadcasted to the audience. The ensemble cast had a Greek style tabard costume which was very fitting with the origin of the story. The black line was also portrayed across Aegisthus chest during his final scenes of the play.
One of the theatre gimmicks which did work at certain stages of the play was the harmonisation of the ensemble. Again with handheld mics who attended to progress the story while providing a backup singer situation for Elektra. However once again the ensemble sections where overused and lost their impact due to the amount of time the feature was used. With towards the end of the play their scenes/ performances seemed unnecessarily elongated. Having said that each cast member who made up this ensemble was very talented. As a musical theatre fan I was able to appreciate their performances as stand alone events but for me did not add anything to the story or the production. Along with the musical theatre theme there was some great microphone stand choreography.
One aspect of the production which did well at modernise a literal ancient text. Was the general fast pace nature of the dialogue. A lot of the monologues where very fast paced and wordy while still keeping the diction and as a result were still understandable. A perfect example of this was Patrick Vaill who main monologue was so fast pace and rhythmic that it resembled more of a rap that a play monologue and was as a individual piece very impressive. Along with the fast general speech pace the use of music and volume at times did create a very frantic enters however due to the lack of story did not have the dispersed effect it was meant to.
Now to talk about Brie Larson who was a main selling point for this production and was used heavily during the advertising of the show. Even the front of the programme lists it as “Brie Larson IS Elecktra”. As mentioned bewilder the sole us of a microphone by Brie Lawson created a very one dimensional perofmrance. I don’t believe this is a reflection of her stage acting talent. Unlike Sigourney Weaver in the tempest from a few weeks ago. It did feel like Brie was treating more as a film role which was highlighted by the commencement she made by having a buzz cut which I can only assume was real and showed her commitment to this stage role. General Brie performance showed lots of conviction and stage acting potential. But very let down by the script and directing choices which produced a very one dimensional performance and not a reflection of her ability.
Now for some of the other cast. Starting with Greg Hicks playing Aegisthus who had a very limited dialogue and only really spoke onwards the end of the play and did not add anything to the plays dynamics. Stockyard Channing as Clytemnestra was again one dimensional. However once again I believe this was not as a result of her ability but the limitations of the text and lack of story. As mentioned earlier with the speed of dialogue Patrick Vaill was very impressive in his monologue abilities as Orestes.
Overall I give this production 2 out of 5 stars. If you are looking for a traditional play then look away. The use of theatre and direction tricks were an attempt to modernise an ancient text however heavily overused and created a very underwhelming and story lacking production.
Further details can be found on Elektra website here.
A SPURDLE reviews 