Elektra @ Duke of York’s Theatre, London

I didn’t know what to expect, only the production hadn’t been reviewed well. But I love a classical drama and was intrigued to see what would happen when Sophocles (or Sophokles) meets punk rock. The result: Captain Marvel (Classical edition) was marvellous.

Armed with grief, horror, disgust, a desire for revenge and a mic, Brie Larson’s Elektra roamed the stage for 75 minutes like a kind of classical Hamlet. Echoing Hamlet, Elektra’s mother has apparently killed her father and married the murderer, a sleazy Aegisthus (Greg Hicks). Elektra battles with ethics, justice, right and wrong. Really the drama asks us — what is a woman worth? Is (as the classical world often advocated) a woman a kind of defective, sub-human man or can a woman’s desire to avenge, for justice and honour, to be honourable and noble, to right a wrong be as powerful and effective as a man’s?

Elektra battles her sister and her mother, and even double crosses her sleazy step-father. Uniquely, the Greek chorus of watching women sing, guiding and inspiring Elektra’s thoughts and actions.

Though the costumes are Cruella de Vil meets Kendom faux mink and the cast bizarrely cover themselves in black paint, we’re also very much in the ancient world. Everyone apart from Elektra wears modern interpretations of Greek robes — gamely, even the men. There’s also a funny moment when a messenger from a chariot race gone horribly wrong turns up looking very James Hunt F1 style and gives a sporty commentator debrief. This was the only time when the drama foundered as sometimes chariots were mentioned in the text — and sometimes cars…

Incorporating noise distortions and a lot of sung lines, somehow it all works. The stage features a smaller revolving stage, a speaker or two, a blinding light and some mics, as well as the typical UK stripped down set, actors sitting on the sides of the stage when not in the action; a projected backdrop (which seems to be coloured lights rather than video montage) and a Sesame Street style puppet of Elektra’s apparently dead brother at one point.

As well as Elektra’s thoughts, words and desire for action, there’s a really strange sub-plot about whether her brother is dead or not. This fact turns out to be the catalyst for all Elektra seeks to bring about.

Though only on the stage for small timeframes, when they appear — Stockard Channing (as evil mother Clytemnestra) and Greg Hicks are compelling. As battling sisters, Marième Diouf (Chrysothemis) and Brie Larson’s Elektra give powerhouse performances — particularly the energy and pathos Elektra gives us, on stage throughout. Marième Diouf gives us a gentler, more compassionate sister — whereas Elektra is aghast and horrified about what has happened. Literally spitting every time her step-father’s name is mentioned and striking her shoulder to honour her dead father’s name.

Compelling, challenging and fascinating, we entered into the classical world and considered if a woman can have strength and honour too?

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