theatre response
Elektra/Orestes
WRITTEN by Jada Alberts & Anne-Louise Sarks
DIRECTED by Heather Fairbairn and
PRODUCED by Metro Arts and
The Hive Collective
Elektra/Orestes: a challenging portrayal of big ideas, at Metro Arts
Part of the exciting Hive Collective three play season, this play takes on the ancient story of revenge and places it firmly within the modern domestic sphere, where family members come and go, niggling, arguing and annoying each other as the tension builds. We watch these intricate family relationships unfold, mixed with playfulness, moments of betrayal and deep soul searching.
The production is very tight and intricate, directed by Heather Fairbairn, designed by Sarah Winter, written by Jada Alberts and Anne-Louise Sarks, lit by Christine Felmingham (a really fine contribution), with composition/sound designer by Julian Starr, fight director NJ Price, and Intimacy Director Andrea Moor. The actors ranged from experienced to emerging: in the order of the program: Violette Ayad, Caroline Dunphy, Tate Hinchy, Tatum Mottin and Marcus Oborn. With a mix of performative experience, the scene is set for a rich learning environment, not only for the young actors but also for the more experienced. The production values were high, which is not surprising considering Heather Fairbairn’s previous experience, working with the likes of Katie Mitchell in UK. Heather gathered a very fine group of local creatives to build the performance. The lighting and music are still with me a week later.
It was a strong night out at the theatre. I was a little perplexed with the scene change that separated the first act with the second, but it didn’t really matter because it was very watchable most of the time. It was the on-stage relationships between the actors that varied in impact, and had me thinking about the relational space between performers and how important it is to bring the audience close. Despite this, I was swept up in the drama of it all, particularly when Caroline Dunphy held the stage, someone who has an intuitive understanding of the space between.
Anyone who has watched Caroline Dunphy’s career on the Brisbane stage over the last couple of decades knows that you will always be surprised. No half measures here. Her portrayal of Clytemnestra was simply heart stopping. The complexity of the mother daughter relationship was sharp, and multi layered. Her ability to be fully present and fully absent (as the mother) at the same time was remarkable. In the last act, Dunphy’s relationship with her son was multi-nuanced. We saw the love, the overwhelming need to protect, and, at the same time, I would not have been surprised if Clytemnestra pulled a knife. Such was the tension.
Dunphy’s acting choices in this show are impeccable. For transparency, I have known Caroline for decades, first as a fellow class member in Frank Theatre’s training room, then in various professional productions, working alongside her, agreeing, disagreeing and always holding her in high regard. This production shows her as the actor she has become: sharp, deeply nuanced, intelligent, heartbreaking, full of awe. And this doesn’t just happen. Dunphy is one of those actors who never stops training, consistently challenging herself and not afraid to fail. As a consequence, she flies high.
I am so glad that I saw this production. Fairbairn created an experience that not only enhanced the audience, but also provided huge learning curves for the performers, and brought together a very fine creative team which I hope will join up again and create more theatre. Congratulations! The Hive Collective is a wonderful addition to the Brisbane Theatre scene. I for one am thrilled. Next week we will witness the wonderful Kate Wild in her production of Conviction by Zoe Dawson.
Elektra/Orestes ends 13th March. If you want to watch an actor at the top of her game, ring Metro Arts now. https://www.trybooking.com/events/landing?eid=703920&