Theater

Elektra

~ michaeljhealy ~ Leave a comment

Sophocles seems to be having a moment in London’s West End. Last year saw two stagings of Oedipus, one of which, featuring Mark Strong and Lesley Manville, I was lucky enough to see, as well as a production of Antigone. Now, in early 2025, Elektra comes to the London stage with Brie Larson in the title role. I saw it recently and was impressed. It’s a “punky” production, with Larson using a handheld microphone throughout and sporting a shaved head, jeans, and a Bikini Kill T shirt. The text was by the acclaimed poet, Anne Carson.

So, what’s with the sudden spurt of these productions in London’s theatres and how does one explain their appeal for some actors better known for film and TV work? Elektra is a play about rage, revenge, betrayal, and family strife in a time of conflict. Something in that mix, I suspect, speaks to these uncertain and dangerous times. And the wonderful production of Oedipus I saw in 2024 cast Mark Strong as a politician committed to honesty and full disclosure in his re-election campaign. Written nearly 2,500 years ago, these astonishing plays are as relevant and vital today as they have ever been. Audiences know it, and I find that encouraging.

The Duchess of Malfi

~ michaeljhealy ~ Leave a comment

It is believed that John Webster wrote The Duchess of Malfi in 1612 or 1613. That puts the play’s creation at around the same time as Shakespeare’s The Tempest or Henry VIII. It was performed very widely when it was first written and has continued to be staged ever since. I can recall seeing it in London decades ago, but only have the faintest memories of the production. It is easy to see why it might resonate with modern audiences given its preoccupation with misogyny, power politics, and with men’s efforts throughout history to control women. It’s not short of violence and gore, so that might also partly explain its continuing appeal.

The modern adaptation I saw staged recently in London may introduce a new generation to the play, though its insistence on 21st century English gave little or no flavor of how Webster’s original text sounded. The themes survived, but the poetry of the original was lost.