Review: Electra/Persona (Lyttelton Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️

Greek tragedies have been entertaining audiences around the world for thousands of years, with creatives continually looking for new ways to adapt and present the stories seemingly known by the vast majority. One favourite is Electra, though the last major outing for this particular story (2025's Elektra) received less than favourable reviews (including a rare one star from me). Hoping not to repeat that fate is Benedict Andrews who offers an interesting and very different twist on the tale with Electra/Persona, premiering at National Theatre. With a star in one of the lead roles (though exactly which is up to the Gods… or chance), would Andrews be able to differentiate this version from those that could seem identical on the surface, or would this end up being another kind of tragedy?

As the title suggests, Electra/Persona is two stories combined and presented as one production, with the slightest pause to differentiate them, though a key point of the play is in how tricky it is to define and separate, leading to themes repeating and lines being blurred. Electra is, of course, the Greek tragedy by Sophocles, with themes of grief, family loyalty and revenge. Persona, on the other hand, is adapted from the 1966 film by Ingmar Bergman, and focuses on a young nurse and her patient, a well-known actress who has stopped speaking. The connection? The actress was in the middle of performing Electra at the time. This adds another layer to the theme of what is art and what is reality, cleverly linking both separate entities together in a way that is surprisingly cohesive.

Cate Blanchett and Nina Hoss lead the four strong cast with the two main roles (Electra/Elisabeth and Clytemnestra/Alma) but which role does each actress play? Well, that very much depends on the night. Each performance starts with the two actresses in the audience announcing that it will be decided on a coin toss. Either Blanchett or Hoss chooses heads or tails, and the victor gets to choose which role they perform that night. If that sounds a bit gimmicky, it is very much deliberate and the reasoning for this becomes far more apparent as the play progresses.

The themes in Electra/Persona revolve around identity, and distinguishing one person from another. Comments are made about the similarities between the two main women, with Alma struggling to differentiate herself from her patient, Elisabeth, in Persona. These themes are not reserved solely for the second half of the play, with seeds planted through Electra as well, as both Electra and Clytemnestra comment on how they have played each other’s roles (on the nose but it works) and questioning if the other truly knows what it is like to be them. The fact the story revolves around an actress used to playing roles and the theory of why she is choosing silence blurs the lines further, essentially breaking down the wall between reality and fiction, somehow simultaneously furthering the escapism the play offers whilst adding to the uncertainty of what is going on. The more the play develops, the more the purpose of the coin toss becomes more apparent, and more satisfying to think about.

This is where Benedict Andrews’ genius truly comes into play. Taking the themes present in Electra and Persona and finding a way to merge them together in such a distinct way may come across as audacious, but the result is wildly impressive. The various ways the idea of separating the two women are played out is handled with an abundance of creativity, with Andrews delivering some inspired choices through his striking direction. Speaking in unison, mirroring each other's moves, and even descending and ascending the stairs on the set in tandem to name but a few. There are other things to look out for as well though I wouldn’t want to spoil exactly what so that you can hopefully be as satisfied with these fantastic touches as I was.

Magda Willi’s set design is simple yet effective, with a looming wooden staircase all you see initially (one key prop aside). This rather sparse setting never gets boring, thanks to a stunning use of lighting from Jon Clark and an atmospheric sound design from Brendon Aanes. Video becomes an important part of the show later on, and while this may feel overused in recent years, it is used to great and varied effect here with Ash J Woodward’s thrilling design. Again, no spoilers, but some of the surprises and ways it is used made me fall in love with the inclusion of video in a way like I haven’t been wowed by in quite some time.

I mentioned the two lead actors, and it was Cate Blanchett who won the coin toss at this press night performance, choosing to take on the roles of Clytemnestra and Alma. Now, it doesn’t need to be said what a remarkable actress Blanchett is, as her accolades thus far can attest to. However, there is still something breathtaking about watching her in action. A master in her field, the way she takes on both of these characters is nothing short of miraculous. Her Clytemnestra is solid enough, going toe to toe with Nina Hoss’ Electra, but it is her portrayal of Alma that really set the stage ablaze. Having to deliver the lion's share of the dialogue against her mute acting partner, this is where Blanchett really comes into her own, showcasing all her astonishing strengths as an actor. Over an hour, we see contrasting sides to Alma, with Blanchett having no shortage of conflicting tones to play in a volatile characterisation. The one consistency is the quality of Blanchett’s acting, delivering an exceptional turn that stayed in my mind long after leaving the theatre.

Nina Hoss masters the art of subtlety with her turn as Elisabeth, staying mostly silent as the character but always finding ways to say everything through facial expressions and nuanced reactions. One particular ly striking moment sees an emotive response to a close-up on camera that showcased this remarkable side to her acting. On the other hand, Hoss’ Electra is loud, brash and dominating, setting the audience up for a complete juxtaposition later on but giving Hoss a lot to play with, and the chance to use her voice while she still can. With much of the play focusing on the dynamic between Blanchett and Hoss, no matter who they are playing, it is the dynamic between the pair that elevates Electra/Persona to the next level. Do forgive the pun, but there is no other way to describe it - Blanchett and Hoss together are electric, creating a thrilling dynamic that felt authentic and even dangerous at times. Where the theme of the play speaks of characters being hard to distinguish from each other and their actors, Blanchett and Hoss carry this with them in their performance, matching each other with their sheer impressive quality and never faltering.

Though the bulk of Electra/Persona is taken up by Blanchett and Hoss, they are not alone on stage. Ella Lily Hyland takes on the roles of Chrysothemis and Anna, changing up the dynamic and proving to be a kind of go-between for the two leading ladies in the first character, and making her presence felt primarily through her voice in a largely off-stage role in the second. Though Patrick Robinson’s stage time is drastically shorter than the others on stage, he ensures his brief appearances are certainly memorable.

Last year’s Elektra was memorable for all of the wrong reasons. Electra/Persona has the opposite effect. Both attempted to do something new and different with the source material, and while one fell woefully short, this one excelled in its execution. The result is a watch so captivating, you could hear a pin drop during the performance I attended, with an enraptured audience daring not to make a sound even during the brief pause in the show. What Benedict Andrews has achieved through his adaptation and direction is nothing short of impressive, matched and possibly even surpassed by the exceptional performances from Cate Blanchett and Nina Hoss. One of the most creative shows I have seen this year, Electra/Persona has made itself easy to distinguish from every other take on the Greek tragedy, knowing exactly what its identity is and ensuring the result is a killer watch.

Electra/Persona plays at Lyttelton Theatre until 10th October. Tickets from https://www.nationaltheatre.org.uk/productions/electra-persona/

Photos by Monika Rittershaus