The Curse of Oedipus

Reviewed by Terry Morgan
Antaeus Company
Through August 10

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Photo by Maia Rosenfeld

One of the great things about the Antaeus Company is that its deep talent pool and expertise in classical theater allow the group to tackle ambitious projects. The new production of Kenneth Cavander’s The Curse of Oedipus is one such project, a play that uses Sophocles’ famed trilogy and other historical sources to reform the story anew. Casey Stangl’s vibrant staging of the 22-person ensemble results in a brilliant, must-see show.

As always, Antaeus “partner casts” its shows — this is a review of the “Thebes” cast. The story parallels the rise and fall of Oedipus (Ramon de Ocampo), who defeats the Sphinx and becomes king only to fall victim to a curse, following a similar career trajectory of Creon (Josh Clark), who schemes to become king only to have the populace turn on him. Those affected by the long curse include Oedipus’s wife Jocasta (Rhonda Aldrich), his sons Polyneices (Brian Tichnell) and Eteocles (Patrick Wenk-Wolff), and daughter Antigone (Joanna Strapp), as the gods Apollo (Mark Bramhall) and Dionysus (John Apicella) watch the mortals struggling against the dictates of fate.

De Ocampo is impressive as the unfortunate Oedipus, brimming with bravado as the young king, but even more powerful a presence as the older and wiser outcast. Clark leavens Creon’s menace with a wry delivery, and is unexpectedly touching at the conclusion when he claims he thought he’d being doing good all along. Aldrich and Strapp are both good in their roles, but the characters are both a bit underserved in this adaptation.

Wenk-Wolff is particularly amusing as the power-mad Eteocles, and Tichnell does solid work as Polyneices, who realizes too late he’s been gullible. Bramhall and Apicella are a terrific comic duo as the bickering gods, and Fran Bennett is appropriately haunted and angry as the visionary Teiresias. Finally, the eight-member chorus is outstanding, serving as both narrators and bystanders, bringing the world to life.

Stangl’s direction is exemplary throughout, from big set pieces such as an earthquake and a fight between Oedipus’ sons, complete with slow-motion, to small details such as drummer Adam Meyer producing a ringing note from the rim of a bowl that matches obsessed Antigone walking in a continual circle. Cavander’s adaptation is superb, encompassing the entire Oedipus trilogy but also adding welcome humor and a theme of his own as Apollo and Dionysus debate over the importance of fate versus free will. It also is Dylan-esque, as finally, everybody must get stoned.

The Curse of Oedipus is one of the best productions of the year.

Antaeus Company, 5112 Lankershim Blvd., N. Hlywd.; Thurs..-Sat., 8 p.m.; Sat.-Sun. 2 p.m.; through August 10. Antaeus.org