Elektra’s life is a mess. She’s stuck living with her mother, which is bad enough – it was her mother who murdered her father. Her stepfather is not much older than her and has all too happily taken her father’s position as king. And her sister doesn’t even care! She’s sided with their mother and taken up gardening like nothing ever happened.
Elektra sent her little brother Orestes into exile when he was just 11. He was the next in line for her father’s throne and had to be protected from their stepfather. Nine years later he has come of age. Now he’s on way to the palace to join Elektra and take the ultimate revenge against their mother. There will be blood.
Anne-Louise Sarks (Nora, Medea) has forged a remarkable series of shows by combining the full force of old tales with the uncanny familiarity of modern life. Here she teams with playwright Jada Alberts (Brothers Wreck) to create a spectacle of retribution, love, justice and power.
Hunter Page-Lochard (Brothers Wreck) is the perfect contemporary Orestes; Katherine Tonkin the Elektra for our times. They are joined by Linda Cropper, Ben Winspear and Sydney Theatre Award nominee Ursula Mills.
In this darkly funny play the ancient Greeks violently collide with a very modern royal family in a showdown for the ages.
By Jada Alberts & Anne-Louise Sarks
Director Anne-Louise Sarks
Set Designer Ralph Myers
Costume Designer Mel Page
Lighting Designer Damien Cooper
Composer & Sound Designer Stefan Gregory
Dramaturg Cristabel Sved
Fight Director Scott Witt
Stage Manager Luke McGettigan
Assistant Stage Manager Brittany Jones
Lighting Secondment Romy McKanna
Stage Management Secondment Jennifer Parsonage
The structure of this version is completely original, bringing together Elektra’s and Orestes’s stories in a way that is fast-paced and urgent but emphasises how alienated they have become from each other, for all their love.John McCallum | The Australian
A taut, narratively riveting, one-hour thriller.Maxim Boon | Limelight
The cast is terrific, all delivering nuanced performances as these complicated flawed characters.Alexandra Spring | The Guardian