It’s a topic that needs airing: postpartum depression, the experience of deep distress at a time that everyone assumes is joyous.
And in the case of A Blow In The Face, it’s being addressed by accomplished writer Lisa Ryder with the help of a highly skilled cast and crew. The play opens with a tableau featuring Alice (Tess Degenstein) holding her baby Cooper, on the precipice of... Then we’re in her home with her husband Guy (Jordan Pettle), who’s heading out of town for a business trip. They tease and provoke Alice, all the while dropping hints that they may be a couple who drowned their own child, and that Alice ought to consider doing the same.
He enters as a tipsy Victorian industrialist coming home late and is promptly dispatched to the land of the shadows in a trapdoor fight.
The mythological Electra is much different from Hofmannsthal’s.Agamemnon’s sacrifice of his daughter Iphigenia (did he really sacrifice her?See: Gluck), results in his murder by Iphigenia’s mother and his wife, Clytemnestra, and her new husband, Aegisthus.The music often abandons tonality, and yet the sweeping late-Romantic vocabulary of Stauss’s subsequent works is undeniably there.
The Orchestra nimbly negotiates all the atmospheric shifts.
For Goerke’s voice, Elektra is a perfectly fitting glove.