Review by Daz Gale
⭐️⭐️⭐️⭐️
Productions of Oedipus (Oedipiusses? Oedipi?) are like buses... as are big productions of ancient Greek plays seemingly. Several months after the West End got its own Oedipus and opening one day before the West End's Elektra (look out for my review tomorrow), the Old Vic gets its own Oedipus... and this one stars an Academy Award winner so hopes are certainly high, though it has a tough act to follow given how well received the other production was. The question is would this production banish the memory of the other and reign supreme?
Originally written by Sophocles and adapted for many mediums in the thousands of years since, Oedipus tells the story of the titular King of Thebes who attempts to lead his people to a new land following a plague on their existing land. When the Oracle declares that the land will be saved if the murder of the previous King Laius is solved and the murderer punished, Oedipus attempts to solve the case though, in doing so, discovers more about himself and his own upbringing than he bargained for. Though I like to steer clear of spoilers, I think a couple of thousand years is enough for everyone to know exactly what transpires here – though it doesn’t detract from the journey to that discovery.
Rami Malek stars as the titular Oedipus, making his London stage debut after winning himself an Oscar for his role as Freddie Mercury in Queen biopic Bohemian Rhapsody. Going from a Queen to a King, he plays the ruler with a strange relationship with his mother who may just turn out to fulfil the prophecy that he killed his own father, bringing a very different meaning to “Mama, just killed a man..”. Though clearly a gifted actor in his own right, something about his portrayal didn’t quite land in a performance that felt stiff and uneven throughout. Though not at the same extreme level as a certain other movie star who has recently trodden the boards in the West End, Malek was the big draw here, yet found himself eclipsed by his co-stars.
Playing Oedipus’… well, we best not get into who she actually is to him. Playing Jocasta is Indira Varma in a performance that surprisingly dominates even when her, shall we say family member, is supposed to be ruling. Always captivating in her performance, Varma showcases all her strengths as a performer, channelling moments of comedy, terror and anguish – culminating with the ultimate revelation. Varma’s reaction to this bombshell dawning on her is a true masterclass in acting as she slowly realises what has happened, ensuring all eyes are on her… well, apart from Oedipus’ eyes at the end, I guess.
Though Oedipus is dominated by these two performers, their co-stars get their own moments to shine with impressive turns of their own. Nicholas Khan is the most prominent of these as Creon, with a powerful presence crucial to the development of the story. Cecilia Noble may have relatively small stage time as Tiresias but more than makes her presence felt in a standout turn that lingers in the memory long after she has left the stage. Joseph Mydell brings a warmth to the story as Corinthian while Nicholas Woodeson’s Shepherd is a battle of extremes as he grapples with being the bearer of the ultimate revelation.
Ella Hickson attempts to bring something new to Oedipus in her adaptation and has created an interesting take on the story, with updated dialogue and moments of comedy peppered in. Her writing impresses throughout, and is elevated by the co-direction by Matthew Warchus and Hofesh Shechter in a true collaborative effort that attempts to breathe new life into the story and create a fairly unique (though one that will undoubtedly prove divisive) production.
Though it is a relatively minimalist approach to the story, Rae Smith’s deceptively sparse set design has its own surprising reveals, with one beautiful touch towards the climax of the show creating a striking visual. Tom Visser’s lighting sets the mood to complement the design but it is Christopher Shutt’s sound that proves the most impactful, ramping up the atmosphere with subtle and ominous noises that provide a quiet background at times and completely dominates in others.
The most unique element in this production of Oedipus is in the significance of movement and music throughout. Choreographed and created by co-director Hofesh Shechter, it can be powerful but also threatens to overpower at times with a prolonged opening and regular bursts of choreography throughout the story. While this was impressive in itself, I’m not convinced it blended quite as naturally with the story, feeling jarring at times and creating a harsh juxtaposition, though this may well have been the intent. There is no denying the talent behind the ten performers in these sequences, however, and it certainly added something different to the production.
Where London theatre-goers had the battle of the two productions of Oedipus to choose from, I sadly missed out on the West End production last year so can’t compare that one to this. Perhaps that is for the best though as my recent memory won’t be tainted by inevitable comparisons and I can take this one on face value. In that respect, this is a very strong version of Oedipus albeit one with its own imperfections. Though I may not have come away shouting about the one performer I expected to, there is much to enjoy here with the powerful quality the Old Vic have proven reliable in in recent years. Not quite a motherf***** of a play but it’s certainly not boring by any stretch and remains captivating in its own right. I have no doubt that this production will provoke differing and extreme reactions in many theatregoers but that truly is the beauty of theatre.
Oedipus plays at the Old Vic until 29th March. Tickets from www.oldvictheatre.com
Photos by Manuel Harlan