Indiana Repertory Theatre’s excellent production of ‘Oedipus’ proves as powerful as ever on stage
By ADAM CROWE
A Seat on the Aisle
This week brings the latest offering in Indiana Repertory Theatre’s 50th Season.
In recent seasons (and including the company’s next offering), IRT has introduced its audiences to numerous new works. This month, Artistic Director Janet Allen takes us back to the beginning.
Literally.
Sophocles wrote Oedipus in or about 429 B.C. Sometimes referred to as Oedipus the King or Oedipus Tyrannus, the play has been referenced throughout all Western history, starting with Aristotle and continuing to this day.
The story of Oedipus would have been well known to Greeks who saw Sophocles’ telling of the tale. A beloved king who saved the city of Thebes from the wrath of the Sphinx by answering her riddle, Oedipus is called upon again as a plague has befallen the city. In his zealous quest to save Thebes, Oedipus repeatedly ignores warnings to leave his own past buried. Sure of his own righteousness, Oedipus’ own fate cannot be avoided. The audience in 429 B.C. knew what was coming. Most of the 2023 audience does too. That knowledge does not lessen the impact of the story onstage.
David Alan Anderson at Oedipus and Mary Beth Fisher as Jocasta. (Photo by Zach Rosing)
A simple and beautifully striking set, designed by Carey Wong, transports the audience to an age of gods. Oracles, Seers, and the indestructible effects of Fate. James Still’s sharp and insightful direction propels the story. He has assembled a remarkable team of actors and designers. Sara Ryung Clement’s costumes are beautiful and functional. Michelle Habeck’s lighting is evocative of the place. Most dramatically, Lindsay Jones’ music and sound are all encompassing, but perfectly balanced with the actors on stage. Actor/musician Jed Feder moves between speaking as part of the Chorus and playing percussion at an array of instruments located on a corner of the stage. Reinforcing moods and moments, Feder is impressive and indispensable. Finally, Mariel Greenlee provides the cast with their minimal but striking movement direction.
As the title king, David Alan Anderson returns to the IRT in triumph. Whether buoyed by certainty or wracked by his realization of the truth, Anderson’s performance is magnificent. The cast’s eight other performers make up the Chorus and other characters of Thebes. Trieu Tran, Jan Lucas, Sola Thompson, Jed Feder, Olivia D. Dawson, Lisa Wolpe, Ryan Artzberger, and Mary Beth Fisher all flow beautifully between roles as citizens, shepherds, Queens, and one very distressed Seer. All are exceptional, with Wolpe’s Tiresias a standout.
If you have vague memories of Greek Choruses speaking in monotones, adapter David Daniel has anticipated your concerns and created a flow that pulls the audience into the story in a vital way. This is immediate and heart pounding storytelling. There is not a moment that feels dusty or academic.
Bottom line – Do not miss a chance to see this excellent production of one of the foundational pieces of all theatrical history. This is no museum piece and is as powerful as anything ever written for a stage.
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