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The tragedy of Oedipus is a popular, dark, and constantly reimagined theatrical production. Although created thousands of years ago, this play revolves around the main character Oedipus and a prophecy. His father Laisus heard that his son would murder him and marry his wife, so he left his baby to die on a mountainside. This baby was found by others and raised in another village. Eventually, Laisus and Oedipus crossed each other on the road, had a disagreement, and Laisus was murdered by Oedipus.
Oedipus eventually came to the city that Laisus had ruled and became king, while in the process marrying the king’s widow, Jocasta. As the play progresses Oedipus and his mother figure out what has actually transpired, and Jocasta takes her own life, while Oedipus blinds himself and is forced into exile, where he eventually dies.
There have been many reiterations of this famous Greek tragedy. This production by Sir Tyrone Guthrie does an excellent job of visually displaying the core of this story, darkness. Dark, disturbing, and chilling are all excellent adjectives for this type of play and the Guthrie version takes all of this into account. First of all, the set is very simple, encompassing a basic stage design with a few columns as a backdrop. Most of the props and costumes follow this theme accompanied by a low level of light. These characteristics do a phenomenal job with metaphorically describing the subject matter the audience is seeing, which is horrific and eerie. Seemingly, Guthrie is more focused on the subject matter giving an aura to his productions, rather than flashy sets and complicated costumes.
The finer details that Guthrie includes show his personal touches, which results in the performance being excellent instead of adequate. The aforementioned costumes, whose simple design of scary masks and simple robes are incredible. Moreover, the masks show the actors mouth so voice control and body language are key elements in the performance. Additions such as prosthetic hands and tattered props gave the play the select details that allow the audience to have a truly haunting experience.
There were quite a few characters and extras involved in this theatrical production. However, I felt that the most memorable were Oedipus, Jocasta, Creon, and Tiresias. The individual playing Tiresias did an excellent job with showing that the information he carried psychology and physically was a burden, as well as using body language and voice cues to make the most of the character’s screen time. Creon showed that he was tough and allowed the audience to wonder if he was truly Oedipus’s enemy.
Jocasta was very strong throughout the play, but especially at the end, when the horrific truth was exposed. Lastly, I felt that Oedipus stole the show by beginning as an arrogant kingly figure, but as the play progressed became emotionally dissected and essentially opposite to his initial character’s persona. This visual display of two polarized personality types was intriguing to see on stage.
Guthrie’s vision of this Greek tragedy was one of the few that used set design to embody the qualities of the subject matter. It also took this ideology into account when looking at costumes, props, and direction. Furthermore, this play took place in 1957 and for that time period this was an excellent rendition. Having incredible costumes and sets is not always necessary, and there definitely is a place for minimalism in professional theatre.
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