National Theatre of Great Britain brings tragic tale to Shakespeare Theatre
“Phedre” –ÊA National Theatre of Great Britain production
Where: The Shakespeare Theatre, Sidney Harman Hall, 610 F St. NW
When: 7:30 p.m. Sept. 22; noon and 7:30 p.m. Sept. 23; 8 p.m. Sept. 24, 25, 26; 2 p.m. Sept. 26
Info: $125; tickets available to subscribers and individuals who buy new subscriptions: $101; 202-547-1122; shakespearetheatre.org.
The National Theatre of Great Britain’s production of Racine’s “Phedre,” at the Shakespeare Theatre, starts with a bold statement by Hippolytus, son of Theseus, ruler of Troezen in southern Greece: “I have made my decision.” With those words, the breathtaking production is off, propelled by the force of its immensely talented cast, its no-frills translation by Ted Hughes and its lucid direction by Nicholas Hytner.
The decision Hippolytus (Dominic Cooper) makes is to find Theseus (Stanley Townsend), who has been missing for six months, during which time Hippolytus’ life has become agony. He has fallen in love with Aricia (Ruth Negga), whom Theseus considers an enemy.
Enter Phedre (Helen Mirren), Hippolytus’ stepmother, who is in agony herself. She has fallen in love with Hippolytus against her will. Sensitively portrayed by Mirren, Phedre is not a monster, but the unfortunate victim of the goddess Venus and of love at first sight. She says: “Suddenly he was there … the man created to destroy me.”
One central appeal of this production is watching the arc of Mirren’s emotional roller coaster: self-castigation for her forbidden love, then hope that her love might flourish, then jealousy at Hippolytus’ love for Aricia, and back to self-hatred. As Mirren illuminates the contours of Phedre’s desire and envy, she drives “Phedre” toward its tragic ending.
The cast is an outstanding ensemble. Cooper expresses his intense feelings toward his parents just by the pitch of his body. Margaret Tyzack is forceful as Phedre’s devoted nurse. John Shrapnel is particularly powerful in his distraught narration of Hippolytus’ death. Often there are only two actors onstage. Hytner makes the tension between them palpable: Their silences become as important as Hughes’ poetry.
Bob Crowley’s arresting set uses sand-colored, pock-marked geometrical shapes to represent Theseus’ palace, which opens to the sea and sky. Paule Constable’s lighting suggests the passage of time by subtle changes in the color of that sky.
“Phedre” was written in 1677. The National Theatre production makes it feels like an intense modern mystery, in which the characters try unsuccessfully to hide their guilty secrets until finally those secrets unmask and destroy everyone.
