Electra

To see ancient Greek drama is a blessing.

To see it done well is a gift from the gods.

I saw director Richard Hilliar’s production of Sophocles’ Electra on the last night of its run. I wished I had seen it earlier, because I would’ve gone to see it again.

Firstly, because it was a superb production. Hilliar’s use of the stage is brilliant. The entire cast is wonderful, and Amy Scott-Smith as Electra is just extraordinary.*

Secondly, because well produced classical theatre is a window into another world.

I know many people will disagree with this attitude. They will argue eternal relevance. They will argue that the passions explored in ancient Greek drama are universal.

I doubt the existence of such universals. I’m not sure who would ever be in the position to judge that such feelings were so ubiquitous.

Sophocles wrote in a particular time and place for a particular audience. If he is appreciated now it is because of excellent productions such as this, and because he continues to speak to particular people.

For me, the ancient Greeks are too fierce. And they care too much about family.

Sure, I’m being facetious, but also I’m not.

I suspect some things have been added to the philosophical ‘tool box’ since they lived. And I do mean in terms of ‘ways of seeing’, rather than the obvious material benefits that make our lives longer, safer, and dare I say, more middle class than theirs.

Let me give a single example. It’s a ridiculous historical generalization and I don’t mean to defend it, but here it is anyway:  I suspect something happened on the fields of Assisi that altered human sensibility, or at least added another way of looking at the world to the many already available. When Francis sang to Brother Sun and Sister Moon, and lived a life of what can only be described as extreme gentleness, something else was added to the ‘tool box’.

And this ‘adding’, or at least rediscovering, has happened over and over again. (Though, again as a single undefended example, the early 20th century suffragettes might seriously question whether any ‘rediscovering’ was going on as they fought for representation.)

My point, long winded though I have been, is that Sophocles’ vision of life is particular, and limited. As must everyone’s be.

That’s my universal.

Productions like this are magnificent because they make us realise, or remember, that there can be this ‘way of seeing’ too.

I suspect this is the greatest gift theatre can give.

Veronica Kaye

Electra by Sophocles

at TAP Gallery til 15 June

* For those new to my blog, it’s probably worth pointing out that I write what I call responses, rather than reviews.

Tags: Amy Scott-Smith, Electra, Richard Hilliar, TAP Gallery