The Timeless Tragedy of "Oedipus Rex" Reimagined at The Old Vic
The Old Vic theater in London has become a hub for a gripping reimagining of Sophocles’ timeless tragedy, Oedipus Rex, set against the backdrop of a drought-stricken Thebes. The stage is illuminated with haunting, deep yellow-orange hues, creating a striking visual motif that evokes the warmth of a gigantic sunrise but also the ominous tones of a world on the brink. At the center of this stark solar orb is King Oedipus, played by the acclaimed actor Rami Malek, who is on a quest to unravel the mystery of his predecessor Laius’s murder. Malek, known for his Oscar-winning role in Bohemian Rhapsody, brings a confident yet troublingly familiar air to the character, channeling a leader whose bluster and can-do rhetoric echo the likes of former President Donald Trump. As the story unfolds, Oedipus uncovers a prophecy that sets the tone for the tragedy: he is destined to kill his father and marry his mother.
The production, directed by Matthew Warchus and Israeli choreographer Hofesh Shechter, blends drama and dance in a postapocalyptic landscape that feels both desolate and deeply symbolic. The chorus, with its twitchy, convulsive movements, reflects the suffering of the people, their supplicatory gestures amplifying the sense of collective despair. The electronic beats and pounding drums underscore the tension, creating a soundscape that is as unsettling as it is captivating. Yet, despite the visual and auditory grandeur, the production falls short in its narrative execution. Ella Hickson’s script, adapted from Sophocles’ original, lacks depth and occasionally feels clunky, leaving Malek struggling to convey the complexity of Oedipus’s anguish. When the truth finally emerges—that Jocasta, played by Indira Varma, is both his wife and his mother—Malek’s reaction feels more like the rueful expression of someone who just missed a subway train than the profound despair of a man confronting his darkest destiny. Visually stunning but narratively weak, this Oedipus leaves audiences underwhelmed by its theatrical impact.
A Contemporary Take on "Oedipus Rex" at Wyndham’s Theater
In a curious twist of fate, London recently hosted not one, but two productions of Oedipus Rex, each offering a vastly different interpretation of Sophocles’ classic. While The Old Vic’s production leaned into a postapocalyptic aesthetic, Robert Icke’s adaptation at Wyndham’s Theater situated the tragedy firmly in a recognizably contemporary political landscape. The setting is an election night campaign room, littered with pizza boxes and placards, where Oedipus, played by Mark Strong, awaits what he believes will be a landslide victory. The action unfolds with a sense of ominous inevitability, driven by a large digital clock that ticks down to an unknown but foreboding deadline. This Oedipus is a study in contrasts—a man of sensitive, evolved masculinity who is undone by his own commitment to truth when he becomes the target of a birtherist smear campaign.
Strong’s performance is nothing short of compelling. His statuesque presence and plaintive demeanor bring a tragic gravitas to the role, while Lesley Manville’s Jocasta adds complexity with her aggressively doting portrayal, hinting at a sublimated maternal impulse—or perhaps even an unconscious knowledge of the terrible truth. One of the most striking moments in the production comes in a risqué scene where Oedipus performs cunnilingus on Jocasta under her skirt, her moans of pleasure—“oh baby, baby, baby”—offering an exquisitely ironic touch. Conceived in the wake of President Trump’s 2016 election victory, Icke’s Oedipus doubles as a commentary on the struggles of center-left political parties, a theme that remains alarmingly relevant as of 2025. Yet, the production’s true strength lies in its ability to transcend its political undertones and deliver pure, unadulterated theater. The audience is left grappling with the pathos of Oedipus’s obliviousness, his insistence that “nobody slips anything past me” ringing hollow as the pieces of his backstory slot into place with the cruel inevitability of a game of Tetris.
Brie Larson Shines in a Punk-Inspired "Elektra"
While Rami Malek and Mark Strong have been drawing attention with their portrayals of Oedipus, another Hollywood star has made her West End debut in a lesser-known Sophocles play. Brie Larson, the Oscar-winning actress known for her roles in Room and The Marvels, takes on the titular role in Elektra, a production that runs through April 12 at the Duke of York’s Theater. In this new adaptation by Anne Carson, Larson’s Elektra is a far cry from the traditional depictions of the character. Dressed in a crew cut, a Bikini Kill vest, and ripped jeans, she stalks the stage with a rebellious intensity, declaiming her lines into a hand-held mic. This is an Elektra for the modern age, a fierce and unyielding figure who embodies the spirit of defiance and rage.
The production’s use of music adds another layer of depth to the narrative. Whenever Elektra says the word “no,” she sings it, a motif that underscores her unwavering refusal to accept her mother’s lover, Aegisthus. This defiance has come at a cost, leaving her ostracized from her family and forced to live on the fringes of their opulent lives. While the play itself is largely uneventful, director Daniel Fish compensates with a dizzying array of embellishments. A blimp hovers above the revolving stage, a gun on a tripod sprays paint onto the performers, and snippets of news audio interrupt pivotal scenes. These abstract additions are as intriguing as they are baffling, leaving the audience to ponder their significance. Despite the visual and auditory experimentation, the production struggles to find its footing. Larson’s performance, while full of energy, feels oddly one-note, her intensity bordering on perfunctory. The rest of the cast fares little better, with the exception of Stockard Channing, whose portrayal of Clytemnestra is both glibly nonchalant and deeply unnerving. Her verbal sparring with Larson provides some of the play’s most electrifying moments, offering a welcome respite from the otherwise abstracted deliveries of the other actors.
The Challenging Transition from Screen to Stage
The recent London theater scene has highlighted a curious trend: the increasing presence of big-screen stars making their West End debuts. Rami Malek and Brie Larson are just the latest in a line of Hollywood actors who have been lured to the stage, often with mixed results. While their presence undoubtedly draws in audiences, it also raises important questions about the nature of acting—and whether success in one medium guarantees success in another. Theater acting and screen acting are two distinct art forms, each with its own unique demands and challenges. What works on camera may not translate to the stage, where an actor’s presence must fill an entire room and their performance must resonate with a live audience. Both Malek and Larson, who have not appeared on stage in over a decade, have struggled to adapt to the demands of live theater. Malek’s performance in Oedipus lacks the nuance and depth required to bring the character to life, while Larson’s portrayal of Elektra feels oddly detached, her intensity coming across as more duty-bound than genuinely felt. Their experiences are reminiscent of Sigourney Weaver’s recent London production of The Tempest, which also left audiences underwhelmed. These missteps suggest that while screen actors may have the star power to draw in crowds, they are not guaranteed to deliver performances that resonate on the stage.
The Dilemma of Stardust in Theater Productions
The trend of casting big-screen stars in theater productions raises broader questions about the state of the industry. Producers are increasingly relying on the draw of celebrity names to sell tickets, often at the expense of the production’s overall quality. While the presence of actors like Rami Malek and Brie Larson may attract new audiences, it also creates unrealistic expectations. Theatergoers who are drawn in by the promise of seeing a Hollywood star may leave feeling shortchanged if the performance does not meet their expectations. This is not to say that screen actors cannot excel on the stage—many have made successful transitions, using their fame to bring new attention to the theater. However, the recent string of underwhelming performances by big-name stars suggests that producers are prioritizing stardust over substance. The result is a cycle of disappointment, where audiences are lured in by the promise of a famous face only to find themselves let down by the production itself. As the theater industry continues to navigate the challenges of attracting new audiences while maintaining artistic integrity, the question remains: is the allure of Hollywood stardust worth the risk of diminishing the quality of the art itself?
