“There are times when justice is too big a risk”
Anne Carson’s version of Elektra is the latest play to take up residence in the Maria studio upstairs at the Young Vic. Allegedly having written 123 plays, only 7 of Greek playwright Sophocles’ works still remain, yet they remain ever popular: soon to open at the National Theatre, Moira Buffini’s Welcome to Thebes also takes much from his writing. However, this Elektra is doing things a little differently: no press night, no previews, just opening to its audience, oh and all tickets are completely free (though advance booking is strongly recommended!)
Carrie Cracknell’s debut as Associate Director at the Young Vic is a joint effort with Headlong and so it should come as little surprise that it is an inventive fusion of movement, music and text, creating haunting dreamscapes and evocative imagery that really capture the overwhelming aura of grief permeating this play. The whole play is darkly lit with varying shades of gloom and this allows for some eerie dream sequences to be played out with masked dancers at the start, setting the tone for a haunting exploration of grief and what it will drive people to. Continue reading “Review: Elektra, Young Vic”
Seeing a deal on lastminute for restricted view tickets for a tenner, I thought I’d squeeze this revival of Tennessee Williams’ Cat on a Hot Tin Roof in for a Saturday matinee, but was almost jeopardised by the seats we were allocated: seats AA1&2 in the Grand Circle don’t actually have a restricted view of the stage, because you are actually facing the audience! The seats are about 120 degrees to the stage so you’re basically facing most of the Grand Circle, a great opportunity to fulfil my Glenn Close in Dangerou Liaisons fantasy, but not the best for playwatching. To see the stage, you need to twist round and then lean quite far forward, which then forces everyone else in the row to lean too. Fortunately, with a house that was only 75% full, we were able to relocate at the end of the first act, but it is truly outrageous that these seats are up for sale at all.
As for the play itself, it is an updated version relocated into the 1980s according to the show literature, although there were curiously few references to this and I don’t think I would have worked it out had I not been informed of it. It’s a tale of a wealthy landowning family who are struggling to conceal the cracks caused by repressed homosexuality, inheritance struggles, alcoholism and the shadow of terminal illness, and I suppose the one benefit of shifting the timing of the play enables the fact that the cast are all black to be not considered an issue. Continue reading “Review: Cat On A Hot Tin Roof, Novello”