Oedipus Rex Bridges Ancient and Modern, Fiction and Reality

By Ruby Saha

When the house doors opened for Oedipus Rex, the first installment in Court Theatre’s Oedipus Trilogy, the stage immediately drew attention. Stark and angular, with smooth white tiles cleaved by a chasm of light and framed by tall, imposing steps at the back, the set (designed by John Culbert) was at once a Greek amphitheater and a padded cell. 

Adapted from Sophocles’ classic Greek tragedy by late Court founder Nicholas Rudall, this fast-paced, 80-minute production maintained a surprising level of tension given how familiar audiences are with the play’s central twist. The tale of the ill-fated King of Thebes, doomed to kill his father and marry his mother, was a familiar, centuries-old myth even to Sophocles’ first audiences in the 5th-century BCE. Yet I still found myself jumping in my seat more than once throughout the production thanks to gripping performances by a superb cast under the direction of Marilyn F. Vitale Artistic Director Charles Newell. The thrilling drama was aided by vivid lighting (Keith Parham) and sound design (Andre Pluess and Christopher M. LaPorte). As the action unfolded, the dimly lit house became a part of the set as the actors addressed the audience as citizens of Thebes, bridging the divide between ancient and modern, fiction and reality. 

As the titular character, Kelvin Roston, Jr. is a commanding force in striking purple robes who drives Oedipus from majestic confidence to weeping despair. It’s a riveting performance sharply contrasted by the white-clad chorus, whose verbal odes have been replaced by largely silent, enigmatic choreography (created by Erin Kilmurray). Through dance and movement, the chorus scenes reflect Oedipus’ emotional turmoil as he journeys from monarch to exile, though I felt the connection between the movements and the narrative was not always clear. Nevertheless, the production was bolstered by several other strong performances, most notably Christopher Donahue’s acerbically funny portrayal of the blind prophet Teiresias; Timothy Edward Kane’s restrained yet compelling turn as Oedipus’ brother-in-law, Creon; and Kai Ealy’s wide-eyed, unblinking messenger who delivers the news of Jocasta’s death.

As a relative newcomer to theater, I appreciated the accessible language of Rudall’s almost colloquial translation of Oedipus Rex and the stunning symbolism of all the design elements, especially the striking designs of the costumes (by Jacqueline Firkins). Every detail, from the minimalist, James Turrell-inspired set, to the white sweaters layered over Greek togas, added a contemporary edge to the tragedy, forcing the audience to confront the play’s timeless themes of fate, free will, and the relentless pursuit of truth through a 21st-century lens. After this visually captivating debut, I look forward to seeing how Court continues the thread in the spring with The Gospel of Colonus, the next installment in the theatre’s Oedipus Trilogy. 

For tickets to Oedipus Rex and more information on the Court Theatre’s upcoming productions, visit their website.