Cate Blanchett's new stage production, "Electra/Persona," is failing to deliver the intended haunting experience, according to a first-night review. The two-hour, two-act play, directed by Benedict Andrews, opened at the National Theatre with Blanchett and fellow actor Nina Hoss.
The drama unfolds in two distinct parts. The first half draws from the ancient Greek myth of Electra, who is incensed by her mother Clytemnestra's murder of her father, Agamemnon. Hoss takes on the role of Electra, while Blanchett portrays Clytemnestra, with the casting decided by a coin toss on opening night. The second half shifts focus to a story inspired by Ingmar Bergman's 1966 film "Persona." In this segment, Blanchett plays Alma, a psychiatric nurse tending to Elisabeth, played by Hoss, an actress who has suffered a breakdown on stage and become mute. As Alma overshares details of her past, the identities of the two women begin to blur, leading to a narrative that the reviewer described as becoming "impenetrable."
Despite Blanchett's captivating on-stage presence and the evident chemistry between the two leads, the play's descent into existential angst and a departure from reality left the audience and critic unsatisfied. The production features a stark set of amphitheatre steps and utilizes handheld cameras for close-ups, contributing to a slick performance. However, the play's abstract nature and what the reviewer called "spuriously scripted explanations" obscured the intended emotional impact.
"Electra/Persona" is a new venture for Blanchett, known for her film roles in "Lord of the Rings" and "Indiana Jones," and her previous avant-garde stage work. This production, which foregoes an interval, aims for a profound exploration of myth, breakdown, and identity, but ultimately leaves its audience more bewildered than haunted.