A new production at London's National Theatre brings together two iconic works from vastly different eras: Sophocles’ ancient tragedy *Electra* and Ingmar Bergman’s 1966 film *Persona*. Directed by Benedict Andrews, the stage adaptation presents these dramas sequentially, linked by a dramatic transition that merges themes of identity, grief, and psychological distress.
*Electra*, first performed around 420 BCE, follows its titular character’s quest for vengeance against her mother, Clytemnestra, for the murder of her father. In contrast, Bergman’s *Persona* explores the psychological unraveling of Elisabeth, an actress who suffers a breakdown while portraying Electra, and the psychiatric nurse Alma who cares for her. Andrews’ production opens with the *Electra* narrative before the interval, followed by *Persona* in the second half, effectively creating a continuous cycle that probes the emotional and existential resonance between the two works.
Andrews, an Australian-born director residing in Iceland, describes Bergman’s *Persona* as a pinnacle of modernist cinema and a guiding influence on his own work. He notes the unique challenge of translating a film so dependent on cinematic techniques such as close-ups and silence into the live theater medium. This fusion was inspired by the question of why Bergman chose to have Elisabeth break down specifically while performing *Electra*, a curiosity that shaped the production’s interlinked structure.
The casting approach adds further complexity and intrigue. Cate Blanchett and Nina Hoss alternate the roles of Electra and Clytemnestra in the first half and then assume the characters of Elisabeth and Alma, respectively, in the second. This rotation means that the actress playing Electra in the first act becomes Elisabeth after intermission, while the performer cast as Clytemnestra takes on Alma’s role. Initially planned as an onstage coin toss to determine the casting for each show, the idea was shelved due to concerns stemming from theatrical lore and the actresses' preferences. Instead, the schedule remains a closely held secret, allowing audiences to experience different interpretations without prior knowledge of the casting arrangement.
Rehearsing two distinct plays simultaneously, each demanding divergent energies and styles, has posed a significant challenge for Andrews and the company. He emphasizes the importance of maintaining daily rehearsals for both halves to preserve the continuity and cohesion of the overall piece. Despite the demanding workload, Andrews characterizes the production not as a double feature but as a single, interconnected work that interweaves motifs and techniques from Bergman and Sophocles.
Known for innovative reinterpretations of classics, including recent productions of Chekhov and Tennessee Williams, Andrews approaches *Electra/Persona* with the perspective of a director focused on synthesis rather than a writer altering the text. He humorously refers to the writer responsible for script revisions as “Dominic,” who was “chained to a table” during the rewriting phase and then sent away once the work was complete.
The interplay between Blanchett and Hoss adds a dynamic element to performances, with their alternation in roles promising audiences a unique viewing experience each time. This novel format has created anticipation for the production, which merges classical tragedy and modernist psychology in a bold theatrical experiment at the National Theatre.