OEDIPUS THE KING

 

Oedipus the King by Sophocles. Adapted and dramatized from a 1904 literal prose translation by RC Jebb  by Michael J. Smith. Produced and directed for Greek Theatre Now by Artistic Director Michael J. Smith. Costume designer Prya Pandya .Masks and props Ben Smith Whatley.Production assistants Misha Pandya.  Shreya Pandya. Graphic designer Emilio Park. Prompt Julie Barnes. Classics advisor Elizabeth Minchin. The Burbidge Amphitheatre. Australian National Botanic Gardens. April 3-6, 2026, Bookings: https://greektheatrenow.com.au/category/tickets/

 Reviewed by Peter Wilkins

 

The Chorus of Villagers in OEDIPUS THE KING

It is regrettable that Greek Theatre Now’s very fine production of Sophocles’ tragedy Oedipus the King should have such a very short season over the Easter period. If audiences in Ancient Greece were as rapt in Sophocles’ classic tragedy between around 430-426BC as the were the audiences seated at the Burbidge Amphitheatre in the Botanic Gardens, then we can only marvel at Sophocles’ power as a dramatist. Surrounded by the natural beauty of the garden, Michael J Smith’s version of RC Jebb’s translation paradoxically possesses the power of classical grandeur within a dramatic immediacy that is the very essence of simple, direct and totally engaging storytelling. The artifice that one might expect of ancient Greek theatre is instantly stripped away by a faithful adherence to Aristotle’s Unities of Time, Place and Action and a clarity of intent to communicate directly with the audience in the open-air setting of the amphitheatre.

 

Andrew Mackenzie as Oedipus. Owen Mackey as Creon in OEDIPUS THE KING

Although it is assumed that Oedipus the King would have been performed by professional male actors at the Festival of Dionysus in Athens, director Michael J Smith’s production in the true sense of village storytelling tradition is being performed by amateurs for their community. The production resonates with an earnest conviction to tell the story truthfully, without artifice, but with complete belief in the power of the story.  This is a riddle within a riddle. Oedipus arrives in Thebes and vanquishes the Sphinx who held power over the citizens of Thebes by solving a riddle. He is made king, only then to face the curse of a plague that could only be removed by obeying the God Apollo’s command to reveal the identity of the man who murdered the former king.  

 

George Belibassakis as the Chorus Leader. Kate Blackhurst as Jocasta

Oedipus (Andrew Mackenzie) sets out to discover the murderer but tragically fails to recognize the truths uttered by the wise prophet Teiresias (Owen Maycock). In so doing he commits the sin of Hubris and is fated to be punished in the eyes of the Gods. It is a sin inadvertently committed by his wife Jocasta, widow of the slain king, and her fate is sealed as well when she seeks to dismiss the oracle’s prophesies. Sophocles constructs a mystifying tale of riddles, paradoxes and tragic consequences. Smith’s direction is a feat of masterful precision. Every clue is punctuated by the Chorus of villagers, Tereiseas, and the shepherds complicit in the fate of the baby Oedipus and his fearful destiny.  Every expression of the Chorus is skillfully orchestrated from the wailing pleas to the judgmental pronouncements, accompanied by carefully choreographed movements and choral work. Every moment of this engrossing production serves the moment. When revelation comes to Oedipus and to Jocasta, the production reaches its shocking climax. The truth that the audience has known since Tereisias’s pronouncement is revealed, the confession made and the judgement passed.  

 The ancient Greek tragedy that must have thrilled and shocked the large audiences of Athenian citizens naerly 500 years BC was no less gripping in the Burbidge Amphitheatre. Every word carried the weight of conviction. Every movement expressed the depth of the emotion. As a young Oedipus, Mackenzie traversed the range of emotions from arrogance to anger to frustration and despair. His final bloodied monologue roared with emotional and physical pain. It is in this moment that catharsis looked out from bloodied sightless eyes. Kate Blackhurst as Jocasta howled the grief that could only be stilled by death, a death horrifically described by Blackhurst doubling as the Palace Messenger. There is convincing performance from Owen Mackey as the old prophet Teiresias. Mackey also doubles as Jocasta’s brother Creon, the future king, and a Theban shepherd who left the baby on a hill to die. Liam O’Connor also doubles very effectively as the Corinth messenger who saved the baby from a fate upon the hillside. George Belibassakis gives an imposing performance as the High Priest of Zeus and there is excellent ensemble work from the Chorus – Leader George Belibassakis, Leader Roslyn Hull, Liam O’Connor, Jade Boyle, who also doubles as the boy attendant to Teiresias and Louisa O’Brien. Marcus Mele presents an imposing physical presence in the non verbal role as the Guard to the King of Thebes.

 Ultimately, it is the Gods that hold sway over the lives of mere mortals, who must account for their behaviour. Whether Oedipus’s fate is just or Jocasta deserves a fate of suicide may lead to a different judgement in a secular world. However the moral judgement of the Gods may not always be kind, but as Greek Theatre Now’s crystal clear and expertly researched production demonstrates we are all morally obligated to bear the consequences of our actions.  

As I left across the grass and beneath the trees on a lovely cloudy Autumn day I reflected on an excellent production of an Oedipus the King for our time and thought of no better way to spend ninety minutes in the company of fine thespians and their Muse Sophocles. This production cries out for a revival!