Rosamund Pike's performance as a crown court judge at the National Theatre signifies the innovative use of microphones in contemporary theatre. The handheld microphone has gained prominence in West End productions, illustrating its ability to transform serious subjects into engaging performances. Productions like The Seagull and Elektra utilized microphones not only for amplification but as dynamic instruments for storytelling. The conversation surrounding microphones depicts how directors view handheld mics as a means for actors to creatively express characters, particularly in narratives focusing on empowerment and voice.
Microphones have been a source of contention in the theatre ever since Trevor Nunn introduced radio mics to the National in 1999. But a handheld isn't something a director is trying to hide, unlike the miniature, hands-free microphones that audiences are now used to seeing actors wear.
It's something that the actor can play with so it becomes a very dynamic thing. While it might not have been in use in Sophocles' time, Fish found it a fascinating proposition in the rehearsal room.
Elektra is about a woman who refuses to be quiet, so the idea of amplifying and centring her voice felt important.
The only power she has, the only chance of justice, is through the noise she makes.
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