As usual, the Greeks did it first.
"Oedipus King," is filled with sex and violence, soothsayers and astrologers, the honest and the dishonest, the faithful and the unfaithful; royalty and commoners. And it opened in Greece some 2500 years ago. It's also playing here right now, in a rich, powerful, emotionally charged production by Upstream Theater at the Kranzberg Center. It opened on Friday, to run through Oct. 24.
Sophocles' drama is strong and universal, and influential enough to have Sigmund Freud name a complex in its honor.
It is the story of Oedipus, born in the Grecian city of Corinth, but living under Apollo's curse that he would kill his father and have children by his mother. He flees to Thebes, where he becomes king, marries Jocasta, fathers two children, but Apollo is not easy to evade. An epidemic breaks out, and the citizens expect Oedipus to help them. A wandering priest tells them that there will be difficulties until the murderer of Laius, a former king, is captured. Well, it's downhill from there. Turns out that as a newborn, Oedipus was abandoned to die, but was saved by one shepherd and given to another. With no knowledge of his own birth, Oedipus grows up, marries Jocasta, becomes king, fathers two children. You can guess the rest.
Upstream Theater is a leader in producing strong and interesting dramas, some as classic as "Oedipus," some so fresh as to be almost rude. Philip Boehm's direction is careful and well-studied. It appears that very little is spontaneous, every moment is the result of long and careful study. The result is accessible, powerful drama for the audience, strong work by the Upstream actors.
J. Samuel Davis, who often has the look and the bearing of a lion, is a brilliant Oedipus, tall and powerful. He begins slowly, softly, confidently, hears bad news. Doubt seeps in. When he turns, you can see his fingers, clasped behind his back, move nervously. When more bad news arrives from his brother-in-law, Creon (excellent work from Peter Mayer), he blames the messenger, charges Creon with treason, rants and shows he is beginning to lose his grip as he tries to get to the bottom. His wife, Jocasta (a lovely, poised, passionate portrayal by Amy Loui, regal in an off-the-shoulder silver gown), who apparently knows what is going on, implores Oedipus to stop searching, to leave well-enough alone. A frantic Oedipus cannot stop until he is destroyed.
Davis, in a superb performance, helps us understand this tortured man and follow him on this path. The man who once described himself by saying, "I am fortune's child," has turned into the well-known, well-beaten red-headed stepchild.
The acting is exemplary throughout. Davis, on stage almost the entire time, sets a high standard for the other cast members and they reach it. John Bratkowski is wonderful in a pair of roles, especially as a messenger in the early part of Act II, where he has a charming twinkle in his voice and seems to take great pleasure in teasing the king. Dennis Lebby also takes two roles, and while he's slightly over the top at times, he's extremely efective. Christopher Harris, Laurie McConnell and Emily Piro are an abbreviated Greek chorus, with Harris very strong.
Michael Heil's simple set features a circular, raked floor with a Grecian design, setting things up very nicely, and LaLonnie Lehman's costumes are excellent, with Loui's gown and Davis' suit, designed to make him look taller and more elegant, are just right and a strong contrast with the rougher garb of the common people. Neither is wearing shoes. Mayer is just right as the man in black, head shaven, eyes flashing, voice powerful.
"Oedipus," 2500 years old, as fresh as tomorrow's e-mail.
Oedipus King opened on Friday as a production of Upstream Theater at the Kranzberg Arts Center, and will run through Oct. 24
—Joe