Review: Upstream Theater Presents Powerful Production of OEDIPUS KING

The story of Oedipus is a tragic one, and perhaps one of the most pitiable and pathetic in all of the Greek canon. The tale is familiar and famous enough to have inspired a complex named after the protagonist, although Sigmund Freud's description of it relates more to the unconscious guilt that centers around an individual who exhibits obsessive behavior toward their parent of the opposite sex, than it does the actual circumstances surrounding Oedipus. That definition really doesn't fit the actual figure of Oedipus, because he's completely unaware of the missing fork in his family tree when he takes his own mother as his wife, after being abandoned as a child. Upstream Theater is presenting a powerful and memorable production of this play, Oedipus King, from an adaptation by David Slavitt, which actually manages, even amidst all the heartbreak and pain, to find some small moments of humor to lighten the overall darkness of the piece.

The story actually begins before the action that takes place on stage, since it's King Laius who brings doom upon his descendants after he abducts and violates the youngest of King Pelops of Elis' sons, effectively setting the plot in motion. King Laius is told by an oracle that he is doomed to perish by the hand of his own son, who will also lie with his mother. This prompts Laius to order Jacosta, his wife and Queen, to kill the infant, but instead she sends for a servant to carry out the deed. But, the servant is unable to slay the boy, and he's left in the fields to die. He's rescued by a shepherd who gives him to a fellow shepherd who presents him to King Polybus of Corinth, who raises him as his own. Oedipus grows up, and while on the road to Thebes quarrels with Laius over the right of way, and winds up striking him with a death blow. Afterwards he ends up solving the riddle of the Sphinx and being rewarded with the kingship of Thebes, as well as the hand of Queen Jacosta. Thus, the wheels are set motion for the prophecy to come true.

The action proper begins as citizens arrive at the palace to ask for help from King Oedipus, since they are in the midst of a terrible plague that has destroyed their crops and ravaged the community. His brother-in-law Creon seeks out the oracle Delphi for help and it is explained that this present course can be avoided if and when the murderer of King Laius is caught. Needless to say, as the story develops, the truth is revealed amid much denial, and tragic outcomes are guaranteed for Oedipus and his wife/mother, Jacosta. 

J. Samuel Davis is exceptional as Oedipus, completely unaware of his heritage until it is far too late to do anything about it. He struggles with the truth, even though he can feel that there is something terribly, terribly wrong, and he garners our sympathy because of the very situation he's found himself in. Amy Loui is very strong as Jocasta, and she works hard to try and brush off the accusations and innuendo until it becomes more than she can bear. Peter Mayer is sharp as Creon, also oblivious to the truth, and irritated by treatment he receives from Oedipus when he brings the news.

Dennis Lebby is good as both a priest and the shepherd who passes the infant Oedipus on to another shepherd. Emily Piro, Laurie McConnell and Christopher Harris do fine work as citizens who act as a Greek chorus, with Harris, in particular, handling most, but not all, of the dialogue. John Bratowksi makes an eerie presence as Tiresias, who's given to prophecy, but his role as a messenger is played almost too cheery for this downbeat work.  Inka Sklodowska and Alessandra Silva distinguish themselves as the children of Oedipus and Jacosta, Antigone and Ismene, respectively.

Philip Boehm's skilled direction finds an engaging middle ground between a strictly classical production and modern theatre. The actors are focused and intense throughout, and even with a minimal amount of movement, the work is still compelling and captivating. Michael Heil's set design provides a tilted circular platform that cleverly illustrates (thanks to artist Jason Coale) the encounter Oedipus has with the Sphinx. Heil also covers the background in vines bereft of leaves that recall the plague that Thebes is dealing with. Steve Carmichael's lighting neatly heightens the drama and tension in concert with Boehm's droning sound design. LaLonnie Lehman provides eclectic costuming that fits the characters, if not the times, in arresting fashion.

Upstream Theater's stunning production of Oedipus King continues through October 24, 2010 at the Kranzberg Arts Center.

To post a comment, you must register and login.