REVIEW | Phaedra, National Theatre
★★★★
Reviewer - Annie
*Disclaimer: Gifted tickets in return for an honest review.
A trip to the National Theatre is never taken without full gratitude, not only based on its reputation but mostly in anticipation of its latest offerings. I’ve come to realise over the years that although the National is known for its status and history, it does not play safe, and you certainly go in to expect the unexpected.
Although I am not a huge fan of this phrase, as if you are expecting the unexpected to happen you are then anticipating something mindblowing which can often lead to disappointment - somehow the National Theatre continues to allow you of this managed anticipation whilst totally shocking you with the totally unexpected. The talent of their writers and directors never fails to impress me and with great joy I can confirm last night was no exception.
The loud chatter around the latest revival of ‘Phaedra’ by Simon Stone is one which shows no signs of stopping throughout its run. Reimagining Seneca’s monumental tragedy, Stone has transported a tale as old as time, one which feels so distant from modern plausibility, and made it fit right into our society and delve into our inner fears.
Helen (Phaedra’s updated name) is a politician who is clearly hugely successful and a strong woman, her family are an insular model which seemingly prove a tight circle and hard face to the outside factors. The play begins in their home and all seems totally peaceful and harmonious. That is however until the arrival of Sofiane (Hippolytus) which marks the start of the unravelling of the family and the timeline.
It is evident that Stone has carefully studied Seneca's play, using similar themes as the premise of the play, only adapting them to read in the modern world. Presenting Helen in the same way as she is portrayed in Seneca’s play felt a brilliant choice, as not only did it show Stone’s research, but it made the character’s decline even more tragic. Starting as a powerful, strong woman with no evident Achilles’ heel; the arrival of a ghost of her past leads to her tumultuous downfall and the pace rapidly increases as her fate becomes inevitable.
Janet McTeer in the title role is a masterclass for the epitome of a tragedian actress. She is every bit the successor of her ancient counterparts, and offers a wildly articulate performance. Her understanding of her character and their downfall is beautifully acknowledged and is performed with such commitment.
The rest of the cast are equally as flawless, each bringing integrity to their roles there is so little to discredit. I particularly loved the subtle use of humour throughout to modernise the show. Not only in relation to period appropriate humour but also to humour the madness of the plot, how could anyone find themselves in that situation? And in true British mannerisms, our instant reaction is to just laugh, perfectly blending societal opinions into the show, making it evermore relevant.
The staging is crafted in spectacular style, each different set incased in a glass box. Not only does is the set aesthetically pleasing but it entraps the characters like animals in a cafe for the audience to revel over. This treats the characters with animalistic ideas which pushes the plot from reality, and plays on Senaca’s ideas of animalistic qualities in humans which is ever prevlanent in his play.
There is the use of subtitles often throughout the show, and it certainly adds to the passion. However one comment on this is that I was at the end of a row and in some moments it was difficult to read a full line, and as it was so high and I was in the stalls it was a bit of a neck ache at times. Although this is perhaps me being picky, just an observation!
Overall I cannot praise this production enough, it was every bit as tragic as it’s ancestor but geniusly pulled into the 21st century without losing its horror. The cast and crew have made this a real passion project and it certainly has paid off. I urge everyone to go witness this marvel that is Phaedra.
At National Theatre, until 8 April.
