Soap operas are not the only form of entertainment whose plots involve deceit, greed, adultery and murder.
These themes also provide the backdrop for the play “Elektra,” presented by the Ohio State Department of Theatre.
Originally written by the Greek playwright Sophokles, famous for “Oedipus the King,” the play was modified in 1951 by Ezra Pound, who was placed in a hospital for the criminally insane the same year. The Department of Theatre presents Pound’s version, which tells the same story Sophokles’ did, but is set in the United States just after World War II.
“He adapted ‘Elektra’ during a period of his life when Elektra’s story of grief, bordering on madness, resonated with his own situation,” said Sue Ott Rowlands, director of “Elektra.”
The main character, Elektra, grieves over the loss of her father, Agamemnon, who was murdered by his wife, Klytemnestra, and his cousin, Aegisthus, because they were involved in an adulterous affair.
Elektra displays great disdain for her mother and Aegisthus, while seeking revenge for the murder of her father. All the while, she anticipates the return of her brother, Orestes, who has been in exile.
Carie DeVito plays Elektra and gives a remarkable performance, aptly conveying the anguish Elektra is experiencing, while at the same time exuding anger toward Klytemnestra, played by Tarashai Lee.
DeVito’s dominating stage presence is impressive, shouldering the majority of the script.
The script calls for Elektra and some of the other characters to switch between speaking English and Greek, which takes away from the show because it is confusing unless one speaks fluent Greek.
Orestes, played by Donald Clark, is a somewhat arrogant individual who also wishes to avenge his father’s death. Clark gives an adequate performance capturing the tough-guy image, but at times could have given the role more emotion.
The intimate setting in Mount Hall Studio Theatre, where the performances of “Elektra” are held, allows the audience to sit close to the action and become involved in the lives of the characters.
A broken airplane wing is the centerpiece of the set and reflects the tragedy which psychologically tears Elektra apart.
“I enjoyed the play and thought the cast did a great job, especially the woman who played Elektra,” said audience member Emily Spehek. “The seating in the theater was also pretty neat. I have never been to a play where I could sit that close.”
Overall, the play is appealing and a bit suspenseful, but the transition between English and Greek dialogue causes confusion. It also raises the question of what it would be like to see the production the way Sophokles would have intended.
“Elektra” runs through Nov. 18 in the Mount Hall Studio Theatre.
