Herald Young Critics

Oedipus

King’s Theatre, Edinburgh

Thomas Nightingale

five stars

ROBERT Icke’s Oedipus is a brilliantly gripping modernisation of the Greek tale. From start to finish, this masterpiece will have you on the edge of your seat. Every word, every prolonged silence, every pause, is beautiful.

We follow the story of Oedipus, who has latterly finished an election campaign. The blind prophet Teiresias (Hugo Koolschijn) conveys a disturbing prophecy to Oedipus involving a riddle which baffles Oedipus, causing fury and controversy among his family.

The tension between the characters in this play creeps up and almost strangles you. Every moment we are invested in each character’s thoughts and feelings. We feel for the characters and what troubles and stress they’re going through.

Hans Kesting portrays an excellent Oedipus, complimented by an impressive chemistry with Marieke Heebink as Jocasta. The relationship feels authentic due to the commendable performances by Kesting and Heebink.

Sound designer Tom Gibbons deserves an unbelievable amount of credit in this production. His fine work is instrumental to the quality of the play. Every piece of music was perfection, and sends chills up the spines of those in attendance.

The combination of Icke’s direction, the spectacular performance by the cast and the stupendous work by the production make Oedipus a gargantuan success. The production is faultless, and most will struggle to not be deeply affected emotionally by this work of art. Some would even be left speechless.

*Thomas Nightingale is a pupil at The Royal High School and this review was submitted as part of The Herald Young Critics project with the Edinburgh International Festival.

 

Other reviews by Royal High students appear below:

Theatre

Oedipus

King’s Theatre

Daniel Hoyle

four stars

ROBERT Icke’s version of Oedipus starts under the bright, fluorescent lights of a campaign headquarter’s kitchen in the countdown to the announcement of results following a tense recent election. Oedipus is a main contender and public favourite. Together with his extended family, Oedipus tragically pieces together his own history, namely his relationship with Jocasta - his wife, and shockingly, mother - all while the clock counts down.

Set designer Hildegard Bechtler has had her work cut out, seeing as she has managed to install what appears to be a full Ikea display kitchen tactfully onto the stage of the King’s Theatre in Edinburgh. At first this seems uninspired, but we quickly see how this simple set-up works. A propped-up mirror acts as a lasting reminder of Tiresias’s riddle: “it turns everything around but it stands still itself.” These simple props express key themes of the play by acting as a blank canvas for heart-wrenching drama to take place. And there’s no shortage of it.

While following the storyline of Sophocles’ original, this version has been cleverly adapted to be relevant now. Characters like Jocasta are played with liveliness and grit that it seems every character in this play requires. This is done by actors like Marieke Heebink who excellently concoct an overall thoughtful and ultimately emotional performance. With truths and pasts being exposed, all under the shadow of a digital clock on stage counting down every second, this Dutch language production will leave you wondering: “Why live in the past?”

 

Theatre

Oedipus

King’s Theatre

Emily Goddard

four stars

ROBERT Icke brought this challenging story to the modern day excitement of a political campaign. His clever adaptation, helping us reform our views of the “incestuous murder monster” to a fragile man.

This was not the tragic story of an abandoned baby which many have heard of. It dealt with current struggles of modern masculinity, adoption and incest. Indeed, this pressure on Oedipus to keep his true identity hidden during an election, reveals the toxicity of politics that connects greatly to the modern setting: “this world turns on lies”.

The family’s playful dinner showing, added comedy and wit to this otherwise intense production. Frieda Pittoors’ adaptation of Merope, a widow and desperate mother who couldn’t bear a child, helps create a heart-warming experience. Although the music did not fit the dramatisation of the play, the impressive acting of Hans Kesting and Marieke Heebink continued to bring us back to the atoms sphere of the play.

The development of Oedipus’ character (set to great dramatic irony), gripped the audience and helped us to see the innocence within this story. These actors effectively made it a lively and engaging production for everyone (even if you knew the story beforehand).

The countdown timer on stage created a hurried atmosphere as events unfolded in real time. The innovative set sliders and actors changing costume on stage added a certain originality to this well-known play. Overall, this play which leads to the lamentable truth of Oedipus was a moving production which cannot be forgotten.

 

 

Theatre

Oedipus

King’s Theatre

Sophie Roberts

five stars

A STORY of suspense and heavy atmosphere, Oedipus (Hans Kesting) is brought to life by director Robert Icke in a modern setting, following the life of a political leader. The play is performed in Dutch, while still easily understandable through the raw emotion conveyed by the actors. Truths are revealed and things take a dark turn. A real life countdown builds anticipation as we wait for the clock to hit zero and the characters to realise the ugly truth.

The set includes a TV displaying the news in the back, reminding us of the events occurring in the outside world and the ever growing support for Oedipus. Throughout, parts of the set begin to disappear, as the characters slowly begin to understand the truth, which adds a symbolic detail to the performance.

The use of sound and music helps to create a tense atmosphere when needed, as you sit on the edge of your seat, waiting to see how the story will unfold. At times, the silence becomes heavy as the only sound is that of the characters’ voices, a reminder of how alone they feel in their situation.

When the countdown is over it feels as though it is just the characters in themselves, no campaign, no election. However as the chanting for Oedipus’s victory speech gets louder, we are reminded of everything he has on the line; his reputation, dignity, and family. We are left shocked at the ending, despite knowing it from the start.

 

 

Theatre

Oedipus

King’s Theatre

James Stevenson

five stars

THE ancient Greek tragedy “Oedipus” modernised by Robert Icke, to a tale where Oedipus is running for Presidency instead of becoming king, is both terrifying and yet very captivating.

The story consist of Oedipus, our protagonist, in the final runnings of an election for presidency. But little does he know, that during this dreadful two hour countdown (of which there is a timer in the background) leading to the final results, he must find out the truth of his family. In a frightening story of death, cover stories, adoption, evil, and incest.

To many it may be difficult at first to view this performance as it is completely in Dutch, with English subtitles. And it can become confusing to watch what is happening on stage whilst reading the translations. However, throughout the duration of the performance, it becomes an easy flow of reading and watching.

The acting in the performance is by far the best I have seen in a long while and there is a very natural feel of family in joyous moments, and the bickering (even if all is not as it first appears). There is never a dull moment, even in the dark silence, which only adds more to the tension and story.

Overall, between Robert Icke, the fantastic cast, and everyone behind the scenes. They have perfectly modernised this old tale to make it relatable without losing the terror of Greek tragedy which is simply remarkable. A definite to see, just maybe not with the family.

 

 

Theatre

Oedipus

King’s Theatre

Lewis Wetton

five Stars

ROBERT Icke’s powerful Oedipus adaption can take you from laughter to tears in minutes. Sophocles’ Athenian tragedy – originating around 429BC – achieves relevance in today’s world with this modern makeover. As the lights dim you are transported into a fluorescent lit room where the clock counts down for 110 minutes in real time. The anticipation builds and builds throughout and as the timer runs out there is a terrible moment of realisation, with tension reaching peak.

Icke’s Oedipus has the mythical Greek King of Thebes reborn as a popular political candidate awaiting the results after a hard-fought election campaign. Promising change and honesty in his politics, Oedipus becomes caught in a dilemma over his own sincerity involving his heartbreaking youthful mistakes and several seemingly improbable coincidences that come back to haunt him.

Icke certainly succeeds in commanding audience attention despite the prolepsis essentially being declared at the beginning, one becomes increasingly eager to uncover how Oedipus’s hapless fortune is fulfilled. The cast help captivate the audience, all of them notable, but standouts being Oedipus himself (Hans Kesting), his wife Jocaste (Marieke Heebink) and mother Merope (Frieda Pittoors). The trio were able to perfectly change the mood in a split second from a peaceful family conversation, that rapidly descends into comedic chaos and then back to dead serious enunciation in an instant. This dramatic metamorphosis of tone can be startling, keeping the audience on their toes and their hearts beating double time until the end.

 

 

Theatre

Oedipus

King’s Theatre

Cameron Millar

five stars

ROBERT Icke’s new modern adaption of the Greek myth ‘Oedipus’ is a surprising and unsettling production which powerfully examines the cruel nature of life, and calls into question whether we can really know the truth about our ourselves, and if we should even want to know.

With the story set in a campaign centre of operations awaiting the results of a Dutch election which he is strongly favoured to win, Hans Kesting’s Oedipus struggles relentlessly against the prophecy forced upon him at the start of the night, that he will marry his mother and murder his father, but his struggle for the truth only takes him further into the despair and depravity of his family’s true nature.

Beginning with a hopeful and buoyant atmosphere, Oedipus and his family celebrate what could be their last night together before he attempts to restore his country to its former greatness, yet as more and more of the truth is revealed to him he becomes trapped, with the clock counting down the minutes until he discovers the horrid truth. Marieke Heebink gives an astonishing performance as Jocaste, Oedipus’s loving wife, as she too grapples with a brutal past she thought she had left behind, only for it to catch up to her in the most violent and shocking way. Her consistently unfair treatment at the hands of the universe makes the conclusion to the production all the more disturbing, and it is that cruelty of fate which leaves such a lasting impression.

 

 

Theatre

Oedipus

King’s Theatre

Ruth Stewart

four stars

YOU walk into the theatre and the sound of a clock ticking echoes and you are immediately given a growing sense of anxiety and of time running out. The actors and playwright set up who the characters are early on and establishes make sure you know Oedipus is a kind and honest man that wants nothing but the truth. We are then provided with a riddle, given by the prophet who has foreseen oedipus’ fall from the beginning the riddle is ”It turns everything around, but it stands still” and this is brought up many times throughout the play with the answer to the riddle, a mirror, being placed on set right from the beginning. The theme of time and the truth runs all the way throughout the play and is used to emphasise important moments well. The ticking of a clock and the topic of love and acceptance being brought back at pivotal points allow for the suspense to build until the very climax where everything is revealed to Oedipus and you watch as his world collapses around him. For a Greek tragedy they did extremely well updating it for a more modern take and everything fits so naturally. Just when things seem to start linking up, all the relationships seem to tumble out of control on stage and all you can do is hold your breath and hope for a happier ending than the one you know you will get. The playwright did an amazing job with Oedipus.

 

Theatre

Oedipus

King’s Theatre

Cameron Archbold

four stars

AS soon as we entered the theatre, the play began. A beautifully designed set lay in front of us, full of small, yet significant, details as to what we are about to witness. A key piece we are instantly drawn to is a giant countdown clock, which as time progresses, becomes almost terrifying after we are thrown through the adapted drama.

Robert Icke has created less of a play and more of an art piece. Every little detail, from sound to costume design, has been beautifully crafted as to make the story, though sometimes a little far fetched, entertaining. The highly talented International Theatre Amsterdam only further powered this by giving an utterly incredible performance, full of equally heart pumping and eye watering scenes.

The new adaptation from Icke is a beautiful blend of the original story and our modern lives. However at some points I felt a bit lost in the entangled storylines. As soon as the screen rises and the cast begins their craft, I can’t help but feel as though we are already thrown in the deep end- it feels like the modern adaptation has a higher chance of getting lost in.

That being said, as the clock hits zero seconds, we all feel beautifully connected to every character and their struggles. In the final flashback scene, both the audience and cast feels bittersweet. Whilst the cast go back to their homes and get ready for their next performance, the audience walks out in a zombie-like state, too emotional about letting go of such a beautiful production.

 

 

Theatre

Oedipus

King’s Theatre

Zavian Khalil

four stars

ROBERT Icke’s Oedipus is a visually gripping slice of theatre, which grabs a hold of you and does not let go until its stunning conclusion. The journey evokes many emotions from the audience, with Icke’s masterstroke of a take on this classic Greek tale touching the hearts of the onlooking audience, bewildered at the maturity shown by the multi-talented cast, including a variety of big names such as Hans Kesting and Marieke Heebink. These two characters compliment each other massively within the production, with Heebink playing the twisted role of mother and wife of Oedipus.

The play follows Oedipus throughout his election campaign, in which he promises to better the country for citizens, gaining monumental support due to his likeability. The ‘antagonist’ of this piece of theatre is the blind psychic Tiresias (Hugo Koolschijn) who tells Oedipus he has slept with his mother. The finale of the play reveals to us that Oedipus had married his biological mother and had kids with her. This startling revelation forces Jocaste to commit suicide, hence concluding the play.

The cast and producers excellently combine their creative techniques to conjure up this showing of the timeless classic, brimming from start to finish with beautiful performances and eye-watering scenes. The play brought many audience members to silence, the theatre in awe at the marvel that they have just witnessed, unable to put into words how powerful this piece of art really was. The audience gave the performers a well-deserved standing ovation for a stupendous production.

 

 

Theatre

Oedipus

King’s Theatre

Anna Aikman

four stars

‘LET nature take its course’. Oedipus, directed by Robert Icke, is the modernised tale of the Greek twisted tragedy involving the greed for power and incestuous relationship between a mother and son.

Before the play begins a short political propaganda video is shown portraying Oedipus surrounded by revelling supporters. It creates this sense of prosperity and hope towards Oedipus which contradicts to the tragedy.

What’s most prominent is the clock to the side of the stage counting down from ‘dag, uur, min, sec’. The time till tragedy. It reinforces the idea that the facts were there from the beginning but don’t become a revelation till the end.

The use of only one setting throughout the play made it feel real and authentic. The audience was no longer the audience and more of another family member around the dinner table or a painting on the wall spying in on the inhabitants.

Hans Kesting, a film star and veteran performer, portrayed Oedipus. His use of emotion in each word that left his mouth left many silences in the theatre. One instance of this is when he finds out Jocaste is his mother. He stumbles back uttering his disbelief, leaving the audience stunned.

As the curtains drew in the shock of what entailed in those two hours were felt within everyone. Robert Icke has changed this ancient tale into something magnificent, something new and something that will surely stay with those who view it forever.

 

 

Theatre

Oedipus

King’s Theatre

Rae Ashcroft

five stars

FROZEN in our seats, the theatre is ominously still.

I can’t move. I don’t want to move. And I can feel the rest of the audience feeling the same way.

My heart throbs in my chest as we hear the roars of the crowds grow louder and louder. They sound almost malicious after the events that have just taken place. I’m begging for the curtain not to rise again. I can’t bear to see what horrific scene has been left behind.

The stage is not a stage, but a working office. There’s a clock counting down 2 hours, supposedly the time until the election results are revealed. Oedipus (Hans Kesting), a family man, wanting to change a broken world, is sure to win.

The countdown hits zero as the penny drops that Jocaste (Mericke Heebink), Oedipus’ wife, is really his mother. Their relationship is torn apart in front of us and you can see the heartbreak and lust he feels towards her. The air is tight and a sudden end of their own lives leaves the audience stunned in the darkness. Nobody can look away.

 An outrageous plot, set in such a simple setting, in a language which I do not understand. Who knew it would be so gripping? Kesting and Heebink‘s raw, captivating, performance had the whole audience in the palm of their hands. They could drag out a moment for hours and nobody would bat an eye.

Simple and complex, heartwarming and horrifying- Oedipus twisted my heart.