Oedipus Review (Wyndham's Theatre, London)

28 December 2024 I 14:30 I Wyndham's Theatre, London

⭐⭐

Robert Icke's acclaimed adaptation of Sophocles' Greek tragedy Oedipus Rex has been hailed as a contemporary marvel of theatre. Aesthetically understanding of a political battlefield, the tone of this production begins with a confident stance, unfortunately losing conviction in absence of a clear dramatic style. Derived from a play first written over two millennia ago, its flawed characters transpire to a performance that alienates audiences today.

Oedipus is a humble, family oriented politician. In the wake of election night, his nationality comes under scrutiny, tasked with providing his birth certificate to gain the trust of his supporters. However, when an absurd prophecy unfolds into reality, families are disturbingly ravaged with nothing other than devastation left behind.

Written and adapted by Icke, this production's book often stumbles in adhering to a modern setting. Some changes find themselves welcome, including the embrace of son Polyneices' homosexuality which, although not overly relevant to the plot, aids in creating an admirable inclusivity distant from Greek stagings. The language that makes me wince is the excessive use of profanities in certain scenes. The script belongs to c. 429 BC, and while there have been attempts to contemporize the text, the work remains foregrounded in fate and myth. Neither here nor there, the frequent option to swear is misused in a fusion of periods.

The performance begins with video footage designed by Tal Yarden, impressive in scale as it covers the entirety of the proscenium's height and width. Formidable with visual prowess, Oedipus' streamed election speech provides a strong foundation of a leader. Situationally, it could have happened later, as being denied live bodies upon opening reduces their significance following a giant cinematic display. An exciting demonstration of theatrics, a reused and later use of video would have balanced a style heavily reliant on naturalism.

Where creative motifs aren't certain, Mark Strong and Lesley Manville deliver leading performances that captivate in their humanity. Strong's Oedipus is assured, holding both the qualities of a patriarch but also a child-like defencelessness where it is required. Manville equally refuses to be outshined as Jocasta, a fierce mother whose frontier collapses, memorably holding the audience in pure silence for her latter monologue, portraying the role with devastating beauty. There is an immense amount of trust between the pair, allowing their relationship to believed with increasing hurt.

An essence of an ensemble are briefly present as a removal team, dressed in all-black clothing, taking set pieces from the stage (scenic design from Hildegard Bechtler) until an empty conference room / flat remains. The presence of an ensemble purely for transitional purposes appears clunky and disruptive amongst delicate scenes.

The vision for Oedipus borders on the safe, wishing for more ambition with visual states of action. Natasha Chivers' lighting design features minimal changes, with stage images failing to be memorable post-show. It should be considered for audiences that an extended blackout occurs towards the end of the production, aiming for spectacle yet ultimately feeling gimmicky to garner a reaction.

Where Robert Icke attempts to reclaim the history of Oedipus, it has largely been met with critically resounding success. My personal response in the minority leaves me questioning its place in the present day. The acting talent is magnificent, though these powers become drowned out by misguided direction. A Greek political thriller will appeal to many, however a vision reliant on subtlety and minimalism cannot provide the melodrama we crave.