Critiques de productions passés
7Set and costume designer Zoe Atkinson, together with director Matthew Lutton, describe this as a space where light and life are absent, a nocturnal subconscious prison. The almost barren set was punctuated by a huge staircase and very little else but a few shabby looking rehearsal room and school chairs. My initial curiosity about the incongruous nature of the chairs and the three modern branded water bottles set around the stage was cleared up by Lutton: “the whole production is filtered through Elektra’s eyes and anything or anyone she has no emotional connection with is dealt with perfunctorily and plainly”.
Set and costume designer Zoe Atkinson, together with director Matthew Lutton, describe this as a space where light and life are absent, a nocturnal subconscious prison. The almost barren set was punctuated by a huge staircase and very little else but a few shabby looking rehearsal room and school chairs. My initial curiosity about the incongruous nature of the chairs and the three modern branded water bottles set around the stage was cleared up by Lutton: “the whole production is filtered through Elektra’s eyes and anything or anyone she has no emotional connection with is dealt with perfunctorily and plainly”.
‘Most revelatory of all is Welton in the role of Klingsor; it’s a relatively small part, but it packs an enormous punch, and he is electric in it.’
‘Derek Welton is as electrifying and kinetic as his wild costume.’
