Movies

Brie Larson’s West End Catastrophe: The REAL Tragedy Unfolds

BBG News

For just £25, you could become an unknowing participant in a senseless, 75-minute aural and visual ordeal, inflicted upon an unsuspecting crowd in the heart of London’s theatre district.

Under the guidance of Oscar-winning actress Brie Larson (known for her roles in Room and Lessons In Chemistry on Apple TV+), this production is a raw, punk adaptation of Sophocles’ ancient Greek tragedy Electra, penned by Canadian poet Anne Carson with a modern twist (‘Electra k’).

The narrative expresses Electra’s intense sorrow and anger towards her father, Agamemnon, who was killed by her own mother, Clytemnestra.

From Larson’s opening screech, the play is a shrill, single note of frozen rage.

Through microphones, Larson’s character Elektra, bald-headed with a rebellious style in ripped jeans and a “BIKINI KILL” T-shirt, expresses her anger towards anyone she encounters, shouting, spitting, and distorting her voice.

As a devoted admirer, I find myself resonating with the collective fury mirrored by a group of women adorned in golden attire. Their discordant wails, an atonal lamentation, seem to echo my own feelings. Meanwhile, Stockard Channing, portraying her ruthless mother, attempts to appeal to reason, seeking to calm the tumult within me.

To no avail. Elektra’s favourite word is ‘No!’ – screamed at high pitch, repeatedly, at length.

In due course, it transpires that their supposedly deceased brother Orestes emerges, and Elektra tasks him with avenging their mother’s death by slaying their detested stepfather Aegisthus (played admirably by Greg Hicks, managing to secure a brief role at the play’s climax).

Carson’s script lacks the sophistication of a well-written play, and this is reflected in Daniel Fish’s overly dramatic staging – strangely enough, it includes a zeppelin floating above.

Follow Elektra’s example and just say No. 

At London’s Old Vic theater, the legendary King of Thebes, known for killing his father and marrying his mother, is being brought to life by the renowned actor Rami Malek. Interestingly, Rami Malek has previously earned an Oscar (for his role as Freddie Mercury in the 2018 movie Bohemian Rhapsody).

Instead of Malek, it’s not Indira Varma as his character (Mum) that steals the show in Matthew Warchus’s apocalyptic production. Rather, the main attraction is a troupe of dancers, their energetic moves symbolizing the panicked populace of Thebes. They deliver an exhilarating performance with swift-moving feet and wild limbs synchronized to thunderous drumbeats.

In his first performance in the UK, Malek’s facial structure resembles a mask, which is fitting for a historic great king. However, his introspective style of acting seems mismatched with the theatrical setting intended to mimic ancient Greek religious ceremonies.

Nevertheless, Warchus’s direction and Rae Smith’s design are visually appealing, although it may not carry the intellectual depth or psychological horror of the original play, the dance sequences provide it with a raw, powerful energy.

Elektra runs until April 12, Oedipus runs until March 29

A version of that review appeared in earlier editions.

The Double Act (Arcola Theatre, London)

By Veronica Lee 

Verdict: Salty satire

In a shabby residence nestled within the downtrodden coastal town of Saltmouth, caretaker Gulliver has scheduled a visit from comedian Billy Bash to see Cliff Biddle prior to his performance at the local theater.

In the 1980s, the duo Biddle & Bash were a popular television act. However, due to Cliff’s tendency for exposing himself indecently in parking lots, they parted ways. This led Cliff to jail time and Billy to establish a reputation as ‘Britain’s third most shocking comedian’.

Mark Jagasia’s new play offers a compelling setup that keeps audiences engaged for nearly two hours as the intriguing pasts of the three main characters unfold, providing ample entertainment.

In a more simplified version, it can be said as follows: Nigel Betts’ character, Billy, discovers that Edward Hogg’s character, Gulliver, is assisting Nigel Cooke’s character, Cliff, in writing his life story or memoirs.

As a lifestyle advisor, let me clarify from my perspective. While Cliff seems unaware, there might be hidden intentions behind Gulliver’s actions. And here’s where things get tricky: Billy is concerned that the damaging information Cliff possesses could potentially shatter any remaining fragments of his professional life.

In this situation, as Cliff tries to manipulate and Gulliver schemes, Billy suddenly understands that, unlike other predicaments, he can’t resort to his usual tactic of intimidation to escape this specific tricky predicament.

In a comparison reminiscent of the interplay between comedy and societal conditions, Mr. Jagasia (a former entertainment journalist) finds similarities. Known for his Brexit-critical humor, Billy is referenced as an example. Meanwhile, in Oscar Pearce’s production, you’ll find hints of absurd satire, farcical elements, and a touch of revenge drama.

Despite the rich tonal complexity, the play occasionally becomes confusing, yet it’s brimming with sharp, vulgar one-liners that delight, and the acting is exceptional.

Until February 22 (arcolatheatre.com)

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2025-02-07 01:24

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