'Oedipus’ At Court (Press, 4 July 1983)

A double bill featuring "Oedipus" by Sophocles and "Dirty Linen" by Tom Stoppard was reviewed by Gerrit Bahlman, highlighting both the contrasts and similarities of the two works. The production ran from July 2 to August 6, 1983, at the Court Theatre, directed by Elric Hooper, with original music by Dorothy Buchanan. "Oedipus" presented a stark yet captivating interpretation of the classic Greek tragedy. The stage was designed simply, using a semi-circle of flats and gauze screens, which created a central acting space. The traditional costumes, including the Greek chiton and distinctive headgear and sandals, added to the dignity of the performance. Bahlman noted the effective direction that allowed the intensity of the story to engage the audience, particularly praising Lex Matheson's portrayal of Oedipus and Geoffrey Wearing’s performance as Tieresias, the blind seer. Their ability to convey the emotional depth of the characters was highlighted, along with commendable performances from Sherril Cooper as Jocasta and Geoffrey Heath as Creon. The interplay of the chorus, led by Barry Empson, was accentuated by the music, which, despite some issues with sound reproduction, contributed to the reverent atmosphere of the performance. In stark contrast, "Dirty Linen" unfolded in a contemporary setting behind Big Ben in London, where a select parliamentary committee examined the morals of MPs amid a backdrop of scandalous newspaper reports. The play, described as a lecherous farce, showcased a cast portraying a range of humorous and exaggerated characters. Bahlman pointed out the cleverness of the script, which highlighted the absurdities of political life. Each character, from Heath’s Cocklebury-Smith to Deborah Davids’ Maddie Gotobed, offered a comedic portrayal of various facets of political and social life. The play used sharp wit and farcical elements to project themes of hypocrisy and morality, culminating in a nuanced commentary on societal issues. While both plays were static in their staging, the combination of the two provided a broader appeal. However, Bahlman concluded that "Oedipus" would remain the more memorable of the two, with its profound narrative and dramatic intensity overshadowing the lighter, comedic fare of "Dirty Linen." The evening of theatre was thus a study in contrasts — the timeless gravity of ancient tragedy alongside the playful critique of modern morality.

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