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Saw the theatre production at the NTh yesterday, then a 'Platform' interview with Nicholas Hytner. 'Shouting match' is to some extent an accurate description Nik, in my opinion, but the high decibels (even in the theatre!) contrasted with some very soft lines, which I couldn't always catch. Someone asked NH if the NTh tested whether actors could be heard well in all parts of the theatre - he said 'they' did sit in various parts to do that & there was no problem with this play. He suggested, in the most tactful way, that the man's hearing was not what it might have been, but I think unless there is sufficient voice projection then softer utterances do tend to be lost. On reflection I can't remember ever NOT hearing RF's lines, but that's by the by. Pity though, because John Shrapnel has some beautiful lines to deliver.
I admired Ted Hughes' physical, earthy, & what NH called 'muscular' language. NH said THughes had obviously realised that it would be impossible to try & emulate the rhyming lines of Racine - the English language is much more difficult to rhyme than French of course. But he obviously thought TH had done a brilliant job, & hadn't wanted to commission a new translation of the Racine text.
I understand what you meant Nik by Helen Mirren 'stooping', but I didn't interpret her body language as that - more like the Greek-style poses, ie in traditional Greek theatre; almost an over-emphasis on body line & wide gesture. I liked the way she crouched on the ground, embracing it in what I'd call a 'choreographed' way, ie just like a dancer would. This image was emphasised by the soft, flowing gowns the women wore, which I thought were attractive, though I do wish we could have a change from 'modern' military uniforms & heavy boots for the men. She did shout a lot, then dropped her voice almost out of existence.
Dominic Cooper - well he certainly looked the young athlete he was supposed to be; the hunter, the offspring of an Amazon queen. But yes, a flagpole Nick, though some critic admired his 'stillness'. I really didn't believe that Phedre was consumed with passion, that she was in agony with her desire for Hippolytus: I was slightly more convinced by her sense of shame. I didn't believe that Hippolytus really loved Aricia either, though I thought Aricia (Ruth Negga) was lively, fiesty & a young woman with great spirit. On the whole, regrettably, I felt the play was "...words, words, words..." as Hamlet said, & gradually I tended to just listen to the language, & let the actors agonise their way through it all.
I thought the harsh 'Mediterranean' light was spot on! The heavy, sloping set 'roof' & the huge jagged rock pillar were supposed to indicate a sense of imprisonment - minimal & effective. NH said the team had been challenged by the need to suggest the passing of the sun across the open side of the set - they wanted a powerful light and harsh sun to link in with the myth of Phedre being the offspring of Zeus & Pasiphae, 'said to be the daughter of the Sun.'
I enjoyed seeing the play, but I've sufficient reservations to prevent my wanting to see it again.

Nearly forgot: for the Simon Russell Beale admirers, Nicholas Hytner 'revealed' that SRB WILL play 'Lear' - but not for 2 years or so.