An Oedipus worth Seeing

By A. Sic

Sophocles, the great Greek tragedian and philosopher/scientist Sigmund Freud lived worlds apart. Seemingly dissimilar, in a cultural sense, and obviously millenniums apart, there are unique common threads to be found; both men chased intellectual understanding through war and societal ruin. And each had a fascination with a certain archetypal legend that has not only stood the test of time in Western civilization, but has helped us understand what it means to be human.

The most famed works of Sophocles are the seven plays that have come to be known as the Oedipus Cycle. First performed in Athens around 429 B.C.E. at the festival of the god Dionysus, the famous Greek tragedy of Oedipus Rex was no less powerful 24 centuries later during Freud’s prime. When The Interpretation of Dreams was published in 1900, Sigmund publicly made his discipline of psychoanalysis known to the world and thus established himself as the first genius of the unconscious. In his book he writes:

Parents play the main parts in the inner life of all children who later become psychoneurotics. Being in love with one parent and hating the other…

To exemplify this, he uses the myth of Oedipus, whose fate was to sleep with his mother and kill his father. Freud believed that the legend touches audiences because “His fate…could have been our own as well.” His obsession with the character led Freud to use Oedipus as the model for the process of psychoanalytics. To Sigmund, he was a hero, saving lives by solving the most horrific riddle.

Oedipus Complex is adapted and directed by Frank Galati. He says, “I found myself thinking, what if Oedipus was seen through Freud’s lens, as if our contemporary audience were putting on his glasses?”

We are privileged to look through the eyes of someone so intellectually stimulating while sweet and sour ancient language eagerly caresses our ears.

Because we all know what the outcome of the tragedy is before entering the theatre, the reason we still go see these classic works is the same reason Shakespeare was so successful. It’s not about what happens, it is about how and what we see or hear between the beginning and end. What the characters do before they reach the result; the journey they take to get there.

True to the Grecian style, the chorus is used effectively, particularly during the climax where they break out into gorgeous dance and later disperse into running feet pounding against the wooden floor for added tension.

Aside from the lead character of Oedipus, everyone on stage does justice to Galati’s work. Whether it is breathing together as a chorus, taking full ownership of the language, or fully channeling their character’s emotional state, the actors have put in work. They connect to the work and there is no unnecessary movement. When you have some of the best character actors Chicago has to offer, this is expected.

The surprise was the title character’s lack of playfulness and general connection to the text and to other characters for that matter. He also seemed to forget his general surroundings and at times, be uninterested in the overall plot.

Thank goodness for the likes of Nick Sandy who whole-heartedly plays Freud/Priest of Zeus with undeniable connection and Jeffrey Baumgartner, who takes on the character of Teiresias (prophet) without restraint. Susan Hart portrays Jocasta, wife and later-learned mother of Oedipus. Not only is she the only female in the large cast, but she brings an energy and passion to the stage unlike any other actor in the show. Always emotionally invested, Hart makes the language musical, meaningful and real.

The set design by James Schuette is perfectly basic and stark with a wonderful scene change mid-play. The “courtroom” has an eerie glow intensified by the use of lamplight. The sound design by Todd Barton goes hand-in-hand with everything taking place on stage. If you listen closely, it is a wickedly smart commentary in all the appropriate places.

How lucky we are to bear witness to the genius of Frank Galati who has fused the primordial with the contemporary by merging the writings of Sigmund Freud with those of Sophocles’. This adaptation proves powerful, harsh, current and self-fulfilling. As fate would have it, the ultimate human drama is realized.

---

Cat’s Cradle Keeps ‘em Guessing

By Ken Payne

Theatre of Western Springs
4384 Hampton Avenue

I’ve always been one for a good mystery, especially in the vein of Alfred Hitchcock or Agatha Christie, and that’s why Leslie Sands who-dun-it, Cat’s Cradle was such an intriguing experience. Directed by Jack Phillips in the 78-year-old Western Springs Theatre in Western Springs, Cat’s Cradle was filled with suspense from the moment London Inspector Jack Frost (played by Bill Hammack) made his way across the stage amidst the hotel lobby, attempting to solve a missing baby case from more than ten years earlier. Frost tried to figure out the crime but was unsuccessful his first time around – and now he has returned to make good – despite the unwelcome treatment by the local townspeople. Suspicion rises with each character including hotel owners Sam and Mary Fletcher (William Fitzgerald and Mary Pavia), town bigwig Sir Charles Cresswell (Denny Wise), and even the missing baby’s mother Pamela Fulton (Janette Quinn). Apparently, everyone is too preoccupied with Sarah’s wedding, Pamela Fulton’s surviving child.

Frost can’t quite put his finger on it, but he knows something’s amiss. As Frost gets knee deep into a “cover up” of some sort, he makes an unlikely partnership with young journalist Bob Merriott (Danny Fogarty), the former love interest of Sarah Fulton. The two collaborate as things become more and more suspicious.

Bill Hammack was sensational as the quirky, suspecting Frost making his character instantly likeable. His quick wit and clever dialogue charmed the audience and had the house hanging on his every word. It was a special pleasure to see Bill’s daughter Libby share the stage with him in her first ever appearance on the Western Springs stage.

In tradition with the Western Springs Theatre, audience members were treated to a Q&A with cast members afterwards, which occurs every Thursday. Plot questions to compliments arose as the cast and director Jack Phillips graciously answered.

For play or general information visit www.theatrewesternsprings.com.

Latest Buzz Theatre
Buzz Theatre May 2007
Buzz Theatre April 2007
Buzz Theatre 03-08-07
Buzz Theatre 02-22-07
Buzz Theatre 02-08-07
Buzz Theatre 01-25-07
Buzz Theatre 12-28-06
Buzz Theatre 12-14-06