Director Simon Stone is continuing his exploration of Ancient Greek tragedies with his latest production, *Electra/Persona*, which will run at the National Theatre in London from August 19 to October 10. Stone, known for his innovative takes on classical theatre, is presenting this piece as a chamber production featuring four actors whose performances blend role-playing and role-swapping, aiming to uncover the psychological and political layers within the ancient text.

In conversation, Stone emphasized the dynamic interactions between the actors, highlighting the distinct yet complementary styles of leads Nina and Cate, who previously appeared together in the film *Tár*. He noted that while their approaches differ, they resonate with each other in ways that evoke familial connections, such as sisters. The rehearsal process encourages actors to navigate between honoring established interpretations and creating fresh, spontaneous responses to the scene’s logic, fostering a living, ever-evolving performance.

This production follows Stone’s adaptation of Aeschylus’s *The Oresteia*, staged in Iceland, which shares characters and themes with *Electra*. He described his work on the two plays as closely intertwined, with portions of text and ideas crossing between the productions. Stone admitted he had not anticipated working on these related tragedies consecutively or immersing himself so deeply in the complex and tense family dynamics they portray.

Both *Electra/Persona* and Stone’s Icelandic *Oresteia* are designed as intimate productions, with minimal cast sizes and a focus on psychological depth. The concept of "persona," drawn from the Latin for mask, serves as a thematic device to examine how theatre critiques political power structures and personal identity. Stone sees the plays as tools for questioning not only historical figures in power but also the roles individuals assume in their own lives, encompassing social, psychic, and subconscious dimensions.

Stone situates the renewed interest in Ancient Greek drama within the context of contemporary political and moral crises. Drawing parallels between the classical polities and modern global powers, particularly the United States, he suggests that these stories resonate now because they explore the tensions of empire, cultural authority, and collapse. He views the enduring value of these tragedies as stemming from their capacity to challenge audiences on questions of law, justice, and human nature.

Among Australian directors active in London, Stone maintains professional connections with peers such as Kip Williams and Simon Stone, though he describes their relationship as more collaborative than social. All three are recognized for their radical reinterpretations of canonical works, which Stone attributes partly to their international influences and a shared impulse to reexamine tradition rather than adhere to faithful reproduction of source material.

Stone dismisses the notion that his methods constitute a disruption of classic theatre in a negative sense. Rather, his intent is to unlock the mythic and psychological core of these texts, presenting them in ways that speak authentically to modern audiences. This approach, he argues, is aligned with a broader rethinking of what it means to bring classical works to life in a contemporary setting.

*Electra/Persona* continues Stone’s commitment to revitalizing classical theatre by blending ancient themes with experimental staging and performance techniques, offering a fresh perspective on stories that have endured for millennia.