Theater Review: Oedipus Rex

by Clyde Berry of John Garcia's The Column

As a relative newcomer to the DFW theater scene, it has been a great deal of fun to learn about the various and diverse theater groups in the area and their various missions. When assigned the review of Oedipus Rex, admittedly I was curious as to why this particular production was being done. Rex is a pretty standard fare for universities and such as a way of teaching that style of theater to students, but is not frequently done for a clamoring public. After all, one has to wonder, what does this text have to say to a modern audience? The productions I have seen have tended to have a unique theme to their production, style of presentation, or the like. Director Mark-Brian Sonna fortunately addressed this in his program. In short, he feels that Rex is significant to a modern audience since our political leaders have dealt with issues of what is "honorable and right". That works for me. Sonna also mentions a courtroom drama mixed with criminal drama. He also states that this will not be staged in a traditional Greek style. The cast of six folks will be doubling up on roles, which sounds fun and interesting. The piece also fits MBS Productions mission of doing new works and new translations, an admirable goal.

Rex opens with a prologue added to show the confrontation of the Sphinx and Oedipus. If you remember your summer reading, you'll recall that Oedipus saves the city of Thebes from its trials by solving the Sphinx's riddle. The ensemble enters, and through some very interesting choreography portray the city of suffering, create the Sphinx, and set the tone for the rest of the act. The use of fabrics of different textures as both props, and costumes was quite effective, especially with the fog, spooky lighting, and physicality of the chorus writhing on the floor. Unfortunately, these striking images are not continued throughout the rest of the show.

The Stone Cottage venue is a black box of sorts, an intimate space with simple chairs spaced out around the edges. The lights are very minimal, as was the set, really just a backdrop and the top of a column used as an altar. This minimal approach requires very interesting characterizations and staging to keep the audience interested. Sonna does move everyone around quite well, but nothing was ever as interesting as the opening sequence. I did see some references to some classical paintings, as was mentioned in the opening speech, but as a layman to the art world, and more of a literature person, I was most interested in the storytelling and the message therein.

It was here I was most disappointed. Sonna describes his Oedipus as "a human, with a myriad of emotions, and he, like everyone else is a bundle of contradictions". Sonna, who also played Oedipus, did not effectively convey these contradictions or turmoil. In "humanizing" Oedipus, he lost his grandeur and stature. This king did not have any presence of command, his soft spoken demeanor, and internalizing everything actually distances us from him. It is Oedipus' open public confidence that is essential to his downfall. Since we never see him in command, as it were, he seems doomed from the beginning from his own weakness. This is a very different message than what was intended.

I began looking for what Sonna was try to tell us with this piece, I neither saw the political ties to modern times, nor Oedipus' "blindness" to see what was going on around him. This sacrificed the irony of the ending and Oedipus blinding himself. This production chugs along, at a bit of a slow pace, only offering what is on the surface. While we are meant to empathize with Oedipus and his fall, but we never get to like him enough as a whiner to care what happens to him, nor do we feel like he really lost anything, as we never see him as a ruler. Sonna, who admittedly was the fifth person to be cast in this part, had the difficult task of directing himself. I think this likely compromised his vision for this piece and would be very different were he able to have used another performer as Oedipus.

Chris Hauge played both Creon and a servant. While his Creon is more regal in stature than Oedipus, he is much more interesting as the tortured servant. Though his face is obscured by gauze, his pain and reluctance comes through quite well in what is the most intense scene of the piece. Jocasta is portrayed by Alice Montgomery. Montgomery is solid in her portrayal, but really doesn't have very much to do in this translation.

The ensemble had the most physical performances and were at their best when they were choreographed into large moves than when placed in the traditional chorus corner. Kevin Wickersham has the most amazing ability to take the wordy, poetic dialog and make it sound natural and conversational. Were it not for him, this would have been several hours of speech making by talking heads. He is very well cast as the chorus leader, and his slim build and training in movement are used wonderfully in his every choice of step, gesture, and glance. Joshua Scott Hancock gives a wonderful turn as a messenger and several unnamed choral parts. His characters are distinctive in both voice and body type, and work well with the productions conventions. Equally versatile is Grisel Cambiasso as the Sphinx, Teiresias, and chorus. The chorus work in this production is tight and interesting both in individual work, and as a unit. I wish they had had more large bits as a whole.

Alejandro de la Costa's costumes and set designs are effective and work well within the space. Sonna's sound and light choices are fine, but the lights are shifted very abruptly, often killing the momentum and mood they are trying to create.

Oedipus Rex runs through April 25. Purchase tickets online or by calling 214-477-4942.