Oedipus

Even though the British wunderkind Robert Icke has made a notable career (at age 38) of successfully updating such classic works as “Hamlet,” “The Doctor” and “Mary Stuart,” I still walked into Studio 54 with the fear that the headline of this review would be “Icke Wrecks Oedipus.”

While there is a misstep or two on Icke’s part, he’s cleverly modernized Sophocles’ legendary Greek tragedy into a thoroughly involving present-day tale. With little talk of gods, Icke focuses primarily on the unseen cost of hubris, a problem that has remained relevant throughout the centuries, as well as what can happen when the fickle finger of fate points your way.

Better yet, he’s brought along two of the world’s finest actors, Mark Strong and Lesley Manville, to tell it! Strong, who lives up to his name, is outstanding as the headstrong Oedipus, who we meet on the night of his election as the head of some unnamed nation, while Manville turns in a brilliant performance as his wife, Jocasta

We first see them in a videotaped segment with Oedipus talking to his supporters, promising to uncover how his “immediate” predecessor Laius (his wife Jocasta’s first husband) really died 34 years ago. (I know the timeline doesn’t make much sense, one of the issues Icke fails to overcome) He also vows to reveal his birth certificate to doubters who claim he wasn’t born in whatever country we are in and is therefore not fit to lead.

However, giving such assurances without checking in with his campaign manager (and brother-in-law) Creon (a fine John Carroll Lynch) causes more than a little tension between the two men. And the air grows heavier still when a “truth-teller” named Teresias (an excellent Samuel Brewer) suddenly appears spouting three prophecies, including the facts that Oedipus killed his father and married his mother. Oedipus accuses Creon of engineering the stunt, but we immediately believe he was not involved.

While Teresias’ words vex Oedipus, it’s also clear that, on the face of things, they make no sense: Oedpius’ aged mother Merope (a truly outstanding Anne Reid) is with him at the campaign’s headquarters (a bland conference room-type space designed by Hildegard Bechtler) and his father is on his deathbed many miles away. Of course, things are not what they seem.

One flaw of the work is that as much as Oedipus wants to both tell and hear the truth – and goes to great lengths to discover it – some of the answers could have been revealed earlier if he actually talked with Merope, as she keeps pleading. It’s true, however, that he’s too distracted by checking the early election results, dealing with the antics of his three children, the angry Antigone (Olivia Reis), the feckless Eteocles (Jordan Scowen) and the more sweet-natured (and gay!) Polyneices (James Wilbraham), not to mention, satisfying his almost unsatiable lust for his wife. But that’s no way to treat a lady!

Speaking of ladies, Icke’s version could honestly be renamed “Jocasta,” given her prominence in this version. Manville is quietly mesmerizing as she relates the extensive backstory Icke has created to explain how she ended up giving birth to her future husband at age 13. And she’s utterly heartbreaking when she puts all the pieces together about her marriage. It’s a far less showy turn than other actresses might have delivered, but I doubt anyone could have been as impressive.

What is slightly showy is the ticking countdown clock that is prominently displayed on Bechtler’s set. It proves to be both effective and distracting, as is the presence of stagehands taking away the furniture to restore the space to its previous state — which we see in an unnecessary epilogue that blunts what should be the terrible power of the play’s now penultimate scenes.

Sure, ignorance may indeed be bliss, the truth doesn’t always set you free, and, yes, love may be blind. But ending “Oedipus” on an upbeat flashback is the greatest tragedy of this otherwise impressive update.
By Brian Scott Lipton