The National Theatre's most anticipated show of 2026, Electra/Persona, starring Cate Blanchett and Nina Hoss, opened with a unique twist: the two leads toss a coin before each performance to decide who plays which roles. This element of chance, resonating with the themes of duality and identity in Ingmar Bergman's 1966 film Persona, underscores the virtuosity of both actors. Directed by Benedict Andrews, the production runs at the Lyttelton Theatre until October 10.
A Double Bill of Myth and Modernity
The evening begins with a modern, sweary adaptation of Sophocles's Electra, set on Magda Willi's disorienting, ziggurat-like wooden set. On press night, Hoss played the melodramatic Electra, ranting against Blanchett's withering Clytemnestra, with both wearing crude whiteface makeup. The section, which includes Ella Lily Hyland as Chrysothemis, features the two women making each other act out the murders they seek vengeance for, hinting at Genet's The Maids in its violence and persona swapping.
The second part, a faithful adaptation of Bergman's Persona, is set in the present day, with a mobile phone as a significant plot point. It employs live film to show close-ups of Elisabeth's face, as the character is mute. On press night, Hoss took on this silent role, delivering a performance of tears, warmth, and eventual condescension, while Blanchett's Alma, who has actual lines, provides a prattling, unguarded counterpoint.
Virtuosic Performances and Technical Craft
The production showcases extraordinary acting. Blanchett, known for her irony-heavy recent stage roles, here makes Alma a heartbreakingly sweet, unguarded human being before her personality darkens. Hoss's face acting, from misery to fondness, is described as "something else." The live camera work captures Hoss's huge, scared eyes and Blanchett's ageless face rendered sinister in shadow, with their movements settling into eerie lockstep.
Hildur Guðnadóttir's original soundtrack is gentle but ominous, featuring recordings of heartbeats and teeth, with added strings. Jon Clark's lighting takes the audience from balmy summer to an inky netherworld, enhancing the psychological depth.
A Night of Contrasts and Criticisms
The main issue is the imbalance: the Electra section is shorter and lighter in tone, closer to Andrews's usual voice, while Persona is a serious, psychologically demanding transposition that drains the night. Both parts are individually strong, but as a whole, Electra/Persona may not be one for the ages. However, as live theatre, it is a massive flex showcasing the incredible talents of Blanchett and Hoss, taking audiences to the deepest recesses of their characters' blurred souls.
Electra/Persona is at the National Theatre, Lyttelton, until October 10. Tickets are available now.
