See it if You are wondering how Clytemnestra could handle things…
Don't see it if You are a strict classicist
See it if You like Greek Mythology
Don't see it if You don't want actors stripping and making fake love in the bed.
The production does have occasional longueurs ... But Walsh and Walmsley are magnetic throughout and Carr’s words are a delight to hear, even at their most bleak. Bracingly good.
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The lighting and sound take on a stupendous force ... With Tom Piper’s spare set design, the combined effect is astonishingly atmospheric.
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It’s a shame ... that Carr spells out every idea instead of trusting in Annabelle Comyn’s atmospheric staging. The second half loses steam as the family drama grows increasingly convoluted. It’s the women who are unforgettable here.
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There's ... a little too much directing of the audience towards the suffering of women. The flaws are far outweighed by the strengths in Carr's vision of the story.
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[Eileen Walsh and David Walmsley] are tectonic performers with arresting chemistry. Despite its imperfections, it is this disturbing vision that will stay with you long past the bloody finale.
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Annabelle Comyn’s fortifying production has a contemporary/timeless setting. Eileen Walsh gives a hugely impressive performance as Clytemnestra. The nature of classical drama in which key events take place off stage can be disassociating.
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Eileen Walsh ... is a glorious Clytemnestra. It doesn't feel as if breaking point is approached ... the pace drags despite the strength of the performances and the richness of the writing. Walsh is utterly commanding, but both the premise and the direction needlessly maroon her.
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