Along with Shakespeare's Cymbeline, Elektra was put on in the quirky yet lovable Tom Patterson Theater known for its runway-like stage. Every production put on in the Patterson leaves me amazed and wondering how hard it must be to stage these shows in such a strange space. Nevertheless, Elektra left me with my brain full and more. The set for the show was never changed and things never moved except for the actors. The set was made up of three tables, each with a piece of a broken Greek statue. Two panels on each side of the wall were covered in markings that were unreadable and underneath them piles of full trash bags. The final part of the set lay at the edge of the stage towards the audience: a long fish tank filled with dirt. I have great appreciation for this clever yet modern twist that director Thomas Moschopoulos and Designer Ellie Papageorgakopoulou put on the Elektra set, still keeping Greek history and culture present and the main focus of the stage. The amazing set was only the start to this truly unique production.
Elektra follows the life and events of Elektra, the sister of Orestes and daughter of Clytemestra and recently murdered father Agamemnon. We meet Elektra as she mourns the death of her father and proclaims to the world that her brother will return home to avenge his death, put in motion by their mother. We then meet The Chorus of Women, friends of Elektra who attempt to calm her fury and stop her from mourning every minute of every day. A little later in the play we meet Elektras mother Clytemestra, a smooth and careful character who does not deny her involvement in her husbands death and admits to Elektra that she is living with her new lover Aigisthos. When the party learns from an Old Man that Orestes has been killed in a chariot race, Clytemestra rejoices in this news while the others mourn. We then meet Elektra's sister Chrysothemis who has lived with their mother and new lover Aigisthos. When she learns that Orestes is dead Elektra turns to her for help in revenge. Chrysothemis accepts at first but the rejects the offer so she does not get blood on her hands and rip the family apart further. Elektra is left alone with the Chorus and greets a young stranger who has brought the urn holding her brothers remains. Elektra begins to tell this stranger about her brothers good nature and her hope that he would return to avenge their fathers death. The stranger surprises them all when he announces that HE is Orestes and faked his death to gain entrance to the household. Amazed at this news, Elektra sends him into the house to kill their mother. When Orestes returns bloody the Chorus exclaims that Agisthos is approaching the house and Orestes must hide himself and bring the body, expected to be his own. Agisthos comes in rejoicing at the news of Orestes death and tells him to uncover his body so he can see him dead with his own eyes. Orestes instead tells him to do it himself and Agisthos pulls the sheet to reveal the body of his lover Clytemestra. He quickly learns that this stranger is Orestes and he will soon die by his hand. We last see Agisthos being dragged screaming inside the house by Orestes. The Chorus quietly leaves as Elektra sits in front of her mothers bloody and mangled body, silent.
The cast of Sophocles' drama was filled with great talent, perfection and many familiar faces. Yanna McIntosh (Elektra), Ian Lake (Orestes), E.B Smith (Pylades) and Graham Abbey (Aigisthos) played roles in Cymbeline while Laura Condlln (Chrysothemis) and Seana McKenna (Clytemestra) played roles in The Mathchmaker. If they played a good character in one they would be evil in the other, giving a much different side of their acting and themselves. From the entire cast, McIntosh, McKenna and Abbey stole the show. McIntosh's portrayl of Elektra was so different and unique, making the audience think about her as a character and what she really wants to accomplish by the end of the play. McKenna and Abbey played much smaller roles but equally stole the stage. Only on the stage once in the show McKenna and Abbey proved that they could do more than comedy or a great love story. Abbey, on stage for no more than five minutes, was beyond captivating and as he was being dragged into the house I found myself wanting him to come back and do more. To add to the cast, most parts of the show and its dialogue were sung and done in rhythm. The Chorus sang mostly and often pounded or stomped on the tables when left alone on stage or when listening to a story. Because of the vocal and involvement demanded it could be said that The Chorus has the hardest part in the entire play. After seeing this production I now have a greater knowledge of Sophocles and a greater respect for this acting challenge.
It was bitter-sweet leaving Stratford for the season and realizing that the next time I'll go again will be over some college break. I have been incredibly lucky to see five productions this year and I cannot wait to go back next season and see more of the Stratford Shakespeare Festival.
CLIP ONE:
The cast of Elektra in rehearsal, with commentary from the artistic team on the significance of the Chorus in Greek tragedy
CLIP TWO:
General Director Antoni Cimolino, Artistic Director Des McAnuff and
Director of Communications David Prosser discuss the Stratford
Shakespeare Festival's 2012 production of Elektra. Athenian director
Thomas Moschopoulos takes on the second part of the Oresteia story as
told by Sophokles
