Oedipus

Oedipus
Studio 54
December 23, 2025

Photo courtesy of Oedipus

Robert Icke’s version of Sophocles’ Oedipus is riveting.  The story is set in the present, driven by desire for power.  Every word in this adaptation is purposeful.  Every action is intentional.  The cast is focused and connected.  The characters are aggressively ambitious.  The tension builds at a perpetual pace, erupting at moments of heightened frustration.  Every minute of the two hour running time (with no intermission) is intensely absorbing. 

It is election night.  Oedipus (played by Mark Strong) is running for office.  He has a solid lead in the pools and makes a few last-minute promises.  He vows to release his birth certificate, proving his citizenship and calming concerns about his commitment level.  He also promises to start an investigation into the murder of Laius, his wife Jocaste’s first husband, who ruled the country until his murder decades earlier.  Oedipus’s campaign manager, Creon (played by John Carroll Lynch), knows the truth about the events leading to Laius’ death, and is uncomfortable that Oedipus made the decision to investigate without conferring with him first.  When Oedipus’ mother, Merope (played by Anne Reid), hears that Oedipus is planning to turn over his birth certificate, she leaves her husband’s deathbed and travels to see him.  Jocasta (played by Lesley Manville) prepares a surprise dinner for Oedipus at the campaign office.  She secretly invites their three children, Antigone (played by Olivia Reis), Polyneices (played by James Wilbraham), and Eteocles (played by Jordan Scowen), to celebrate Oedipus’ impending victory.  Before they arrive, Oedipus is visited by a blind beggar, Teiresias (played by Samuel Brewer), who shares three predictions, which shifts Oedipus’ demeanor. 

Lesley Manville & Mark Strong
Photo courtesy of Oedipus

Mark Strong and Lesley Manville are brilliant together.  Mr. Strong’s Oedipus is indomitable and
explosive.  Ms. Manville portrays Jocasta as determined and vivacious.  Their passion and attraction are robust.  Their bond is visceral.  Ms. Manville stunningly delivers a long speech, revealing her abusive marriage to Laius and the birth of her first child, at fourteen years of age.  This important backstory is beautifully written.  The details are gruesome and specific, allowing for the scope of the Oedipus myth to be relevant in modern times. 

Olivia Reis, Mark Strong, Lesley Manville, Jordan Scowen, & James Wilbraham
Photo courtesy of Oedipus

Mr. Icke’s adaptation fully acknowledges that every member of the audience knows the outcome of the story.  The opening scene, which is filmed, sets up the premise and the subsequent downfall of the characters.  The tension and suspense build as the audience waits for the reveal.  It does not disappoint.  When the truth is fully comprehended by Oedipus and Jocasta, they are in shock.  It is personal and tragic.  The audience holds their breath to see how they will proceed.  As they start responding, the ending becomes uncertain.

Oedipus is playing at Studio 54 through February 8.  It is a powerful adaptation, brilliantly directed, and masterfully performed. 

Domenick Danza

Oresteia

 Oresteia
Park Avenue Armory
Almeida Theatre Production
July 16, 2022 

Photo courtesy of Park Avenue Armory

Robert Icke’s adaptation of  Oresteia is a brilliant retelling of the Aeschylus trilogy.  The production is four hours of riveting action.  The audience is part of the story.  We are drawn into the human emotions of this family, who sacrifices for the greater good, then gets trapped in a vicious cycle of murder.  Once this brilliant cast presents the full story, Mr. Icke includes the audience in the final conclusion.  How can this family break free from the endless cycle of bloody retribution?  How does our final thought reflect on our own sense of justice?

Mr. Icke brings the action into present day, and tells the tale in four Acts.

·       Act I:  The sacrifice of Iphigenia (played by Elyana Faith Randolph & Alexis Rae Forlenza) by Agamemnon (played by Angus Wright) to save his country from the destruction of war.

·       Act II:  The murder of Agamemnon by Klytemnestra (played by Anastasia Hille) for taking the life of their daughter.

·       Act II:  The murder of Klytemnestra by Orestes (played by Luke Treadaway) in retribution for the murder of his father.

·       Act IV:  The final judgment of Orestes.

Angus Wright as Agamemnon
Photo courtesy of Park Avenue Armory

 Act IV is a unique ending to this classic tale.  After three gripping acts of suspenseful and emotional
immersion, the final moments of the play engage you intellectually. The audience is asked to judge Orestes in the act of killing his mother for the murder of his father.  The cycle of vengeful murder needs to end with Orestes.  We witnessed the story and have the power to release him of the consequences of his fate, the expectation of his heritage, the burden of his lineage.  Mr. Icke takes us to a stunning conclusion as we face the truth of our own conviction.  How is justice served?  Is it through Oreste’s murder for his crime or through his absolution, which will overwhelm him with the guilt of his actions for the rest of his life.  A life that looks nothing like the privilege he was born into.  This is the question asked of Agamemnon in Act I when he is faced with the need to sacrifice Iphigenia.  What will her life be like if she is saved and they lose the war?  Their present life will no longer exist.  The tale goes full circle.  Justice is served.  The cycle might be ended, but what kind of life is ahead? 

The original cast of Oresteia
Photo courtesy of Park Avenue Armory

Aeschylus wrote Oresteia centuries before the practice of psychology was developed.  As in his production of Hamlet (running in rep with this production – see the post on this blog dated July 3), Mr. Icke analyzes these classic characters so we see our behavior in them.  As we face present day crises, both personal and on a world wide level, we need to see that our actions reflect who we are.  They have repercussions on our immediate circles.  As the crises of the world invade our homes, we have choice.  Our choices create a cycle in our behavior that can become inescapable.  Mr. Icke’s adaptation and direction of this centuries old story give us pause to realize that history never stops repeating.  We are not alone in the consequences of our decisions, but we do have the power to prevent the start of a cycle in our behavior, or break it before it is too late.

Oresteia is playing at the Park Avenue Armory in rep with Hamlet through August 13.  Both productions are in association with the Almeida Theatre in London.  They are both brilliantly conceived and masterfully directed by Robert Icke, with an exceptionally skilled cast and ensemble.  Don’t miss them! 

Domenick Danza

Hamlet

 Hamlet
Park Avenue Armory
Almeida Theatre Production
July 2, 2022 

Photo courtesy of Park Avenue Armory

The North American premier of Director Robert Icke’s Hamlet is now playing at the Park Avenue Armory.  It has a running time of three hours and forty minutes, with two intermissions.  The actors take their time with Shakespeare’s rich text and gently rhythms, uncovering lavish subtext.  Mr. Icke places the story in present day Denmark, using modern technology to progress the action, allowing the characters to be relevant and identifiable.  

Prince Hamlet of Denmark (played by Alex Lawther) is in grief over the death of his father, King Hamlet, and the quick and untimely marriage of his mother, Queen Gertrude (played by Jennifer Ehle), to his uncle, Claudius (played by Angus Wright).  Hamlet’s friend, Horatio (played by Joshua Higgott), tells him that the ghost of King Hamlet (played by David Rintoul) appeared during the night watch.  Hamlet joins Horatio, Marcellus (played by Michael Abubakar), and Bernardo (played by Hara Yannas) to watch for the ghost’s return.  When it appears, the ghost tells Hamlet that he was murdered by Claudius, and Hamlet must take revenge.  Hamlet does not reveal this information to anyone, so these thoughts consume him.  His behavior becomes erratic and unpredictable.  He lashes out at his beloved Ophelia (played by Kristy Rider).  When Claudius suspects that Hamlet knows the truth, he commands Hamlet’s old school friends, Rosencrantz (played by Calum Finlay) and Guildenstern (played by understudy Lise Bruneau) to accompany Hamlet to England.  They unknowingly carry a letter from Claudius to the King of England to have Hamlet killed.  Hamlet escapes, only to return to Denmark on the day of Ophelia’s burial.  Her brother, Laertes (played by Luke Treadaway) wants revenge on Hamlet for the death of Ophelia and his father, Polonius (played by Peter Wight).  The plan Claudius makes with Laertes to cause the death of Hamlet goes awry, causing the death of Gertrude.  Hamlet finally achieves vengeance for his father’s murder, but does not live to tell the tale. 

Jennifer Ehle & Alex Lawler
Photo courtesy of Park Avenue Armory

This cast is brilliant.  Every performance is precise and clear, projecting throughout the expansive Park Avenue Armory space.  Alex Lawther portrays Hamlet as a meek and gentle man who is apprehensive about his power, his grief, and his rage.  There are explosive moments, followed by emotional retreats and deep uncertainty.  This dichotomy is potent, and clearly illustrates Shakespeare’s intent, which was way before Freud and any understanding of this kind of psychological characterization. 

Angus Wright has a strong and domineering presence as Claudius, fully taking charge of every element of his rule, including Hamlet’s fate.  Jennifer Ehle’s Gertrude is joyous in her new marriage, truly unaware of Claudius’ tyrannical betrayal.  Prominently depicted in this production is a territory conflict between Norway and Denmark, started by King Hamlet.  This frames the level of power that Claudius is hungry to achieve.  Hamlet’s death brings peace and resolution to Denmark’s on-going conflict with Norway, making him a honored and remembered international figure.    

Calum Finlay, Alex Lawther, & Tia Bannon
Photo courtesy of Park Avenue Armory

The interpretation of Rosencrantz and Guildenstern is refreshing.  There is conflict between the two characters as Guildenstern is loyal to Hamlet and genuinely concerned about his well-being.  Rosencrantz’s loyalties lie more on achieving Claudius’ directives.  Calum Finlay and Lise Bruneau beautifully play these characters, enacting these distinct objectives and earnest concerns.  It drive their scenes and creates an unsettling effect when we hear about their outcome.

The final scene is magnificently directed.  Most of the dialogue is cut, and the duel is staged as a fencing tournament.  One by one the characters are poisoned, with close-ups provided by video projections.  They exit to heaven and are met by King Hamlet and the other deceased characters.  There is a visceral sense of forgiveness and mercy, creating compassion and forward movement.  This illuminates Shakespeare’s well-known final line of this play. 

Photo courtesy of Park Avenue Armory

If you are a Shakespeare or Hamlet enthusiast you must see this production.  The interpretation is enthralling.  The performances are superb.  Hamlet is playing at the Park Avenue Armory in rep with Aeschylus’ Oresteia through August 13.  Both productions are in association with the Almeida Theatre in London.  The production of Oresteia is sure to be equally engaging. 

Domenick Danza

1984

1984

Hudson Theatre

June 25, 2017

Photo courtesy of 1984

Powerful!  Alarming!  Brilliant!  The Robert Icke and Duncan Macmillan adaptation of George Orwell’s 1984 can be described with those three words.  Powerful in its structure and use of technology to engage the senses, stimulate the intellect, and evoke emotion.  Alarming it its multiple levels of truth and relevance.  Brilliant in its scope of vision and precise interpretation. 

Sitting in the theatre waiting for the show to begin, there is sound, a presence, an electrical presence.  The huge speakers are visible, obviously working.  Does anyone notice the sound?  Can they be listening? 

Photo courtesy of 1984

The lights come up on Winston Smith (played by Tom Sturridge) writing in a journal for verification, so the future will know, so he will remember.  The year is 1984, or so he thinks.  He catches the eye of Julia (played by Olivia Wilde) who he concludes must be Thought Police.  They meet in secret.  He trusts her.  They decide to join the resistance against the party and the watchful eye of Big Brother.  Who to trust is never fully known, and the truth is always in question.

Photo courtesy of 1984

Tom Sturridge and Olivia Wilde have a strong connection and chemistry.  Ms. Wilde implements numerous tactics as her character assesses the trustworthiness of Winston Smith.  Through these actions, the extent of her character’s intelligence, cunning, and emotional depth is constructed right before our eyes.  Mr. Sturridge is relentless and unwavering in his character’s belief and understanding of truth.  Reed Birney plays O’Brien, the man these two characters meet in their quest.  Mr. Birney’s portrayal of O’Brien is commanding and cold.  The encounter and subsequent journey of these characters is gripping, surprising, and unnerving. 

Reed Birney, Olivia Wilde, & Tom Sturridge
Photo courtesy of 1984

One scene stands out in particular.  O’Brien is questioning Winston and Julie to test their loyalty.   Winston quickly answers yes to all questions to verify his level of sacrifice.  He will willingly agree to throw acid in the face of a child and give up his life for his belief in truth.  Is our hero a terrorist?  Suddenly Winston’s unwavering beliefs become questionable.  What is right?  Who is good?  From this point on, everything becomes uncertain.

When pressed, O’Brien explains to Winston that Big Brother is not a person who watches, but the paranoid belief implanted by the party to make you feel as if your own words, actions, and memories are questionable.  Big Brother is you.  The party can be destroyed by simply not participating in it.  On the train on the way home from the theatre I saw the poster, “If you see something, say something.”  This campaign ensures our safety.  We see it every day.  We believe in it.    

Photo courtesy of 1984

Robert Icke and Duncan Macmillan have taken George Orwell’s futuristic dystopian warning even more forward in time in order for it to hit a direct bullseye in the present.  This production makes us question.  George Orwell would be proud.  I want to see it again!

Domenick Danza

1984 is playing at the newly renovated Hudson Theatre in 44^th Street.  The renovation is refreshing, spacious and open.  Be sure to check it out!