Review of ‘Oedipus’: “Deus ex fabula”

The ancient tragedy is reborn on the London stage through Robert Icke’s latest adaptation, now arriving to the West End in a limited-running production starring Mark Strong and Lesley Manville. Guillermo Nazara shares his views on the piece, to let us know if this new remake of the Greek myth ends up showing an Achilles’s heel.

There is no such thing as an accident – it is fate misnamed… We all know the story. We all know the prophecy. And, of course, we all know the outcome. From the ancient Greek myth to the contemporary psychoanalytical concept, the tale of the ill-destined King of Thebes, and the downfall that follows the fulfillment of his dark omen, has become one of the touchstones of the Western lore. With countless adaptations ranging from books to film, and inevitably, the theatre, the tragic destiny of the ‘swollen-ankle’ hero has prevailed not only in the artistic territory, but also the way we interpret the most ingrained workings of our society, for over two thousand years now.

There’s not much that Robert Icke is bringing in terms of storytelling structure. It’s called Oedipus and that’s what it is. He will kill his father. He will get intimate with his mother. And further death and doom will follow. It delivers its promise – plain and simple as it is. There’s no surprises waiting in that frame for those who are well-acquainted with the original plot. And of course, by the last 30-minutes of this two-hour straight-through ride (get ready for what’s coming), chances are you’ll end up putting all the missing pieces together way faster than Jocasta does – then again, you won’t be going through the same self-destructive guilt she is (I assume…). And despite all of that, everything you are aware of and you think you hold under your control, trust me when I say that you’ll be stirred as you’ve hardly been before.

Set in a contemporary environment, where a charismatic, political sleuth Oedipus awaits the final results of his presidential campaign, Icke’s take on the folkloric recount accomplishes a striking level of dramatic and philosophical sophistication that fairly resembles the complexities of a Shakespearean work. Paced with masterful skill and flaunting utmost richness in both its narrative and dialogic devises, the piece is effortlessly able to entice and, ultimately, captivate the viewer with total immediateness – unfolding the most gripping array of character arcs and conflicts, as well as a blunt, and highly perceptive exploration of the human condition, that beyond endowing the script with intense profundity, allows it to be piercingly reflective of our modern selves – and in that direction, savagely truthful.

Conveying all of its themes with gripping organicness and compelling depth, the natural flow of all its elements poses as the greatest triumph of its writing – preserving all the core bits that secure source material’s individuality, but disposing with any hints of melodramatism for the sake of plangency and significance. No turn of events is used in pursue of some gratuitous impact – regardless of how eye-shocking some of them may be… It all happens for a reason. And everything is served in such an elaborate manner, it’s almost impossible to disagree. It may be extreme. And with some luck, surely we are not bound to deal with anything of the sort. But the grade of believability is so intense, there’s no doubt that you will be haunted by what you’ve seen onstage.

Also directed by Icke, the production, featuring a satisfactory set design by Hildergard Bechtler, also excels thanks to its most magnificent performances. Boasting electrifying chemistry and flair in the renditions, the whole cast manages to elevate the script through the enthralling spontaneity and fluidity of their portrayals.

Among them, a first mention is meritoriously earned June Watson as Merope, providing her role with startling presence and fetching command. At the same time, James Wilbraham also stands out through his sincere, and somehow touching, interpretation of Polyneices, while Samuel Brewer makes a memorable appearance through his brief but highly salient take on the eerie soothsayer Teiresas. Yet, the greatest praise is evenly gained by Mark Strong and Lesley Manville in the lead parts of Oedipus and Jocasta, exuding such an incredible degree of poise and magnetism (both in tandem and separately), their acts alone are, in all honesty, more than a consolidated argument to pay a visit to the Wyndham’s.

Grief, deception, loss and absolute disgrace. It’s funny to think that those are the matters that can awaken our interest for a night of cultural leisure. Robert Icke’s Oedipus is not a flawless play. Neither are the personages that form it. And yet, here I am, almost a day after attending, still shaking upon experiencing one of the most emotionally (and to some extent, intellectually) powerful evening I’ve had at the theatre in a very long time. Icke’s understanding of the human spirit acts as a riveting force that quivers your soul with arresting ease. There are so many layers, and so much wisdom to dive into, it would not come as a surprise if this adaptation will become a subject of study for future scholars. After all, that’s exactly what he’s done on the essence of mankind.

All pictures credit to Manuel Harlan.

Oedipus plays at London’s Wyndham’s Theatre until 4 January. Tickets are available on the following link.

By Guillermo Nazara