This innovative production, Electra/Persona, weaves together two powerful narratives: Sophocles’ ancient Greek tragedy Electra and a stage adaptation of Ingmar Bergman’s 1966 film Persona. Directed by Benedict Andrews, the play connects these two stories to explore themes of identity, performance, and the blurring of self and others. It is not a straightforward retelling, but an invitation for the audience to draw their own meaning from the intertwining of these two distinct yet thematically linked works. In Electra, the title character seeks revenge for her father, Agamemnon, who was murdered by her mother, Clytemnestra. Clytemnestra justifies the killing by claiming Agamemnon sacrificed their daughter, Iphigenia, to secure divine favor in war. Electra and her sister, Chrysothemis, wait for their brother, Orestes, to return and enact the revenge. Meanwhile, in Persona, a famous actress named Elisabeth Vogler has stopped speaking after a performance as Electra. In a hospital, she is cared for by a talkative nurse, Alma, who gradually becomes a confidante. When Elisabeth begins writing about their conversations, tensions rise, leading to a dramatic confrontation. Andrews links these two narratives to create a layered exploration of identity and performance. Rather than delivering a clear message, he lets the audience reflect on the connections between the two stories. The play features Cate Blanchett and Nina Hoss, who take on multiple roles—Electra/Elisabeth and Clytemnestra/Alma—depending on a coin toss. This element reinforces the themes of blurred identities and the idea of personas, drawing on the dreamlike quality of Bergman’s film and its influence on later works like Mulholland Drive. The production opens with the actors entering from the audience, and a coin toss determines their roles. As they apply white face paint—a nod to ancient Greek theater—Blanchett transforms into Electra, and the play begins. The use of face paint and masks connects the performance to ancient traditions, where actors used masks to project emotions to large audiences. In modern theater, donning a mask is a transformation into a character, a concept echoed in the Latin word persona, meaning mask. This visual and thematic link deepens the exploration of identity and performance throughout the play. As the narrative shifts from Electra to Persona, the actors remove their makeup and transition into their new roles. A live video feed from a camera carried by Blanchett is displayed on a screen, highlighting the contrast between stage and film performance. While stage actors rely on dialogue and presence, film actors often convey emotion through close-ups and subtle expressions. Here, the silent Elisabeth on screen and the vocal Alma on stage create a dynamic interplay, raising questions about authenticity and the nature of performance. The play ends with a powerful, blurred relationship between the two women, leaving the audience to ponder who is truly in control. The set design, by Magda Willi, enhances the themes of mirroring and blurring. A staircase at the edge of the stage evokes the seating of an ancient amphitheater, while a screen displaying a live feed of the audience puts the spectators in the position of being both observers and part of the performance. This immersive experience draws on the ancient Greek tradition of theatrical festivals, where plays were often presented in groups, allowing the audience to connect the stories themselves. Electra/Persona is a thought-provoking and visually stunning production, offering a rich exploration of identity and performance through the talents of its two leading actresses. The play is currently running at the Lyttelton Theatre in London until October 10.