The dance is consistently excellent
Despite the plethora of opportunities, this production seems incapable of fully cashing in on any melodrama because so much time is spent philosophising and breaking out into (albeit excellent) contemporary dance. This is quite a feat in a play which involves incest, patricide, and the ever-vengeful Greek gods, writes Melina Block.
In fairness, as an analysis of fate, fear, and fanaticism, the Old Vic’s Oedipus works well. Rami Malek, the titular king of Thebes, is characteristically unnerved as he wrestles with whom to turn to to decide his future: the oracle, his sceptical wife, or his own intuition? Questions over fate and free will may be timeless, but the dangers of yielding to what those who we assign power to tell us, without question, feel rather timely.
Similarly, Oedipus’ own obsession with prophecy and the people of Thebes’ mob mentality is emphasised throughout. Again, this feels eerily relevant in the current political climate as the characters highlight the extent to which fear can motivate not only individuals but groups to act in ultimately destructive ways and turn against each other.
Indira Varma’s Jocasta is confident and assertive – a sharp contrast to Malek’s neurotic (understandably, given the circumstances) Oedipus. Both actors are undeniably talented, but I couldn’t believe they were happily married and in love – even prior to the whole mother-son issue being revealed – save for some very on-the-nose dialogue. This inevitably undermined what should be the devastating climax, which in itself felt rushed and unable to throw the emotional gut-punch it should have delivered.
The most controversial aspect of this particular production, however, is likely to be the dancing, with Hofesh Shechter Company appearing several times as the Thebian people. The erratic, pulsating movements are fevered and striking, almost religious or ritualistic, emphasising the fevered zealousness of Thebes. The issue, perhaps, is that dance – in its nature – is incredibly subjective. If you interpret the movement in a different way, then I can see why it could feel slightly out of place. But, the dance is perhaps the most consistently excellent aspect of this performance, at times overpowering the often bleak, moody play.
My friend saw this show with me, and although we both agreed that the dancers were excellent, she was not sold on how significant a role in the story it played. Or, rather, how significant a part of the story it took time away from. While I did not agree, as I think it did complement the themes of the play even if it did not drive the narrative forward, I can very easily see this being a major, valid gripe for many people.
So, whether you come for the drama or the dance, rest assured that you will leave Oedipus with something to say.
Old Vic, The Cut, SE1 until 29th March.
Full details and Booking: www.oldvictheatre.com
