Oedipus at Wyndham's Theatre. Phia Saban (Antigone), Mark Strong (Oedipus), Lesley Manville (Jocasta), James Wilbraham (Polyneices) & Jordan Scowen (Eteocles). Phot credit Manuel Harlan.As the polls close and the votes are being counted, Oedipus (Mark Strong) gives an impromptu press conference to journalists outside his campaign HQ, promising (as all politicians do), total transparency and honesty. As we know, such promises are rarely kept and no sooner has he entered the building, his brother-in-law and campaign manager Creon (Michael Gould) explains that in this instance, revelations about birth certificates and an investigation into the death of his wife’s elderly first husband Laius (who had also been leader), would be better left under wraps. When a blind prophet foretells of a seemingly impossible scenario, where Oedipus kills his father and marries his mother, the response is one of anger and consternation mixed with contempt at such a ludicrous fabrication. Given that these facts have already transpired, albeit unbeknownst to everyone save the soothsayer, (who declares that Oedipus doesn’t know himself), the remainder of the play is essentially a family drama spent deciphering The Fates’ caprice and playing catch-up.
Over a celebratory dinner in advance of the anticipated election victory, Oedipus’ mother Merope (June Watson) seeks an urgent private conversation with her son, but is repeatedly rebuffed until near the end of the play when she finally reveals that she and her husband found him as a babe in the woods and adopted him as their own.
The original Theban Cycle tells of the tragedies visited upon the House Laius. Here, we learn that Laius took Jocasta (Lesley Manville) as a thirteen year old child, resulting in pregnancy and the necessary and expedient abandonment of Oedipus her newborn baby. As the pieces begin to fit together the prophet’s doom-laden prediction assumes meaning, forcing Oedipus and Jocasta to the realisation that their marriage as husband and wife — when they are in reality mother and son — is an abomination.
Icke’s modern setting on a design by Hildegard Bechtler with its screens and office furniture, has the effect of focusing the audience’s attention on the very human disaster which unfolds. At the moment of his greatest triumph and on the verge of great deeds Oedipus’s world and those of his family come crashing down due to long forgotten events from over 30 years before. For all that this is a tragedy, there is considerable playfulness and humour in the early stages as the couple’s three children (Phia Saban, James Wilbraham and Jordan Scowen) josh and assert themselves into the dynastic cut and thrust, just as the off-spring of any ordinary family might.
The familial familiarity is what binds the play together and it is Manville’s heart shattering, matter of factness in retelling the long suppressed circumstance of her loss of innocence, which acts as a dagger to the heart. Her stoicism and desire to move on, must surely resonate with any woman who has had to endure the impact and aftermath of decisions made without her consent or consultation. It is a gentle powerhouse performance which will surely garners nominations come awards season
Plays until 4th January 2025.
