Review: Oedipus // End of Line
Armed with a skimmed Wikipedia article and an impromptu PowerPoint presentation from a drama teacher friend, I can’t say I entered Oedipus // End of Line with a font of Sophoclean knowledge. However, by the end of this ambitious and earnest project by Moreton Bay based Role Initiative Theatre Company, writer Ryan Christopher gave me enough knowledge to answer some very niche trivia questions in a neat 100 minute package.
And for the most part, a neat package it was. I found the sequencing and key events engaging and effective at highlighting key moments of the story, and I enjoyed the interplay of modern references with the classical text – for example, the deposition scene worked well in a modern adaptation that’s aiming to mirror the links between leadership and honesty in contemporary society. More consistent usage of modern ideas could tie the intention and modern context together more cohesively. Structurally, I’m tempted to say the audience may benefit from more context regarding how we got to the play’s starting point, and perhaps a preamble with the chorus would be effective for this.
Performances were effective despite the challenging text. The ensemble cast adapted well to the Greek chorus format, with smooth transitions between characters and some interesting moments of echo. The sound design supported and added to the staging, with the ensemble utilising the entire stage area effectively. A particularly satisfying moment was an on-stage transition from Young Oedipus to Old Oedipus as they wove between the threads of fate.
Fraser Salisbury as Young Oedipus opens the play with intensity and energy, which he maintains throughout the play into his later chorus roles. Eleni Koutsoukis was an impassioned Antigone, and I think there could have been an opportunity for an extended moment between her as Jocasta and Young Oedipus, as that relationship was only briefly touched on despite its importance to the story. Mali Just as Ismene provided a subtle emotional undercurrent throughout and showed good contrast between Ismene and her chorus roles. Xavier Witney also found the distinction between his roles, and shared a lovely moment with Old Oedipus as he leads Oedipus to his mysterious final resting place. Eamon Langton had presence as Kreon and could have played a larger chorus role, and Peter Muir as Old Oedipus effectively showed the contrast between the older and younger characters. Performances could benefit from finding the nuance among the tension, as starting at such a heightened point does not leave much room to grow – some tenderness could balance the intensity and a lighter-handed delivery at key moments could really emphasise the social and personal commentary the play spotlights.
Overall, this adaptation realised its ambition, and with further iteration could be an excellent introduction to the Oedipus Trilogy. Audiences will leave with a greater appreciation of this lasting tragedy and how its themes around power and hubris continue to play out in the modern world.
