Theatre review: Electra/Persona

The latest production to employ the staging conceit of the lead actors alternating roles is Benedict Andrews' Electra Forward Slash Persona, a show that already has a pretty high concept as its starting point: Andrews' play is a mashup of Sophocles' Electra with Ingmar Bergman's film Persona, about the relationship between an actress who's suddenly turned mute and the nurse assigned to look after her. So the play opens with Cate Blanchett and Nina Hoss asking an audience member in the front row to toss a coin (or in tonight's case, fling it to the ground in a wild panic.) Given the winner gets to choose which part she wants to play this would be a very easy way to rig the system and have the actors pre-agree who was going to do what*, but regardless of how much it's actually down to chance, tonight saw Blanchett opt to play Clytemnestra in the Greek Tragedy half of the evening.

Theatre review: A Month in the Country

Ivan Turgenev predates Chekhov by a few decades but his work certainly shows him as a likely influence on the more celebrated playwright's world of terminally disappointed upper middle classes turning ennui into their whole personality - or at least Brian Friel's adaptation of A Month in the Country suggests as much. Lyndsey Turner's production at the Donald and Margot Warehouse moves the action from sitting rooms to a greenhouse, which in Lesley Travers' design rises to reveal the household of Natalya (Sophie Okonedo) and her husband Arkady (Thomas Arnold.) The couple have a young son as well as a 17-year-old ward, Vera (Rachelle Diedericks,) and after a series of stuffy old men they have decided to employ a 24-year-old recent graduate from a lower-class background as their latest tutor.