Stockard Channing in Elektra [Helen Murray]

DANIEL Fish’s bold production of Sophocles’ Greek tragedy Elektra, starring Hollywood heavyweight Brie Larson, presents the titular heroine as a rebellious teenager intent on revenge after her mother Clytemnestra (Stockard Channing) and co-conspirator Aegisthus (Greg Hicks) murder her beloved father Agamemnon.

Shaven-headed, dressed in faded jeans and a Bikini Kill T-shirt Larson, bearing an uncanny resemblance to the late Sinead O’ Connor, prowls around Jeremy Herbert’s revolving stage like a caged tiger, speak-singing her displeasure though a mic; fuzz and reverb deliberately distorting her voice.

By contrast, the chorus sing their response in beautiful harmonies set to composer Ted Hearne’s score. Elektra vacillates between anger and yearning for the return of her brother Orestes (Patrick Vaill) to help her complete her murderous mission.

Only Elektra, Orestes and the chorus are given microphones. This gives Elektra the semblance of control, but her outbursts become increasingly repetitive. Her sister Chrysothemis (Marième Diouf) tries to reason with her, but to no avail – Elektra’s voice dominates, and during their argument the unamplified Diouf is, at times, inaudible.

Canadian poet, Anne Carson’s terse verse suits Fish’s semi-modern take. Doey Luthi’s evocative costumes includes running shoes under the cast’s silky tunics.

As to be expected (given Fish’s inventive production of Oklahoma) there are some clever theatrical flourishes: Orestes tells of his feigned demise disguised as a Formula One driver – his blond locks can’t help but recall James Hunt – while the final bloodshed is reported as a series of news flashes and witness accounts.

Fish’s 75-minute production is concise, well-acted and slick, but prioritises style over substance.

until April 12
https://www.atgtickets.com/venues/duke-of-yorks-theatre/