In the realm of London theater, the staging of two distinct renditions of the timeless Greek tragedy, Oedipus, caused quite a stir in January 2024. These productions, each boasting a star-studded cast, offered fresh interpretations of the classic narrative, provoking audiences to delve into the depths of this ancient tale from new vantage points.

The first adaptation, under the creative helm of Robert Icke and featuring renowned actors Mark Strong and Leslie Manville, graced the stage from October 2024 to January 2025, captivating audiences with its modern take on the age-old saga. In a parallel theatrical sphere, the Old Vic unveiled its own version of Oedipus shortly after, helmed by Ella Hickson and co-directed by Hofesh Shechter and Matthew Warchus, with Rami Malek and Indira Varma taking on leading roles.

Rooted in antiquity, Greek tragedies were vehicles for retelling ancient myths in a manner that urged viewers to contemplate familiar stories through a novel lens. While the dual presentation of Oedipus in London might initially appear redundant, it actually highlighted the adaptability and fluidity inherent in tragic narratives.

Central to the essence of ancient Greek tragedy is the chorus, a pivotal element that adds layers of meaning and depth to the unfolding drama. Traditionally stationed in the orchestra of ancient theaters, the chorus’s lyrical and kinetic expressions served to offer reflections on the plot, provide contextual insights, and propel the narrative forward.

In the case of Oedipus, the chorus embodies the afflicted citizens of Thebes, a city ensnared in a harrowing curse. As King Oedipus embarks on a quest to unearth and punish the murderer of his predecessor, the chorus, through song and dance, chronicles the city’s plight and beseeches the gods for respite. Positioned at the base of the palace, they bear witness to Oedipus’s unraveling fate, from his chilling discoveries to the tragic aftermath that befalls his kin.

The divergent approaches to the chorus in the two London productions are instrumental in shaping the narratives and prompting audiences to reevaluate the myth in light of contemporary realities. Icke’s rendition, for instance, strips away the chorus, focusing instead on a narrative steeped in political intrigue and familial dynamics. As Oedipus grapples with governmental corruption alongside his family members, the absence of the chorus shifts the spotlight onto the personal and political struggles within the protagonist’s inner circle.

Conversely, the Old Vic’s production retains the chorus, albeit sans spoken dialogue, relying solely on their choreographed movements to convey emotions and themes. Through Shechter’s evocative choreography, the chorus embodies the city’s anguish, resilience, and yearning for redemption amidst a parched Theban landscape—a poignant metaphor, perhaps, for contemporary environmental crises.

Where Icke’s adaptation leans towards a somber denouement, underscoring the inevitability of systemic failures, Hickson’s interpretation offers a glimmer of hope amid tragedy. As Oedipus, having embraced accountability and self-redemption, surrenders to darkness to ensure the city’s renewal, the chorus’s jubilant dance in the rain symbolizes rebirth, unity, and the enduring spirit of humanity.

In essence, these contrasting portrayals of Oedipus underscore the profound impact of the chorus in reshaping narratives, unlocking new dimensions of meaning, and inviting audiences to traverse the timeless landscapes of Greek tragedy through a contemporary lens.