Great theatre stands the test of time and so it is with this production, translated by Vojtech Mihálik, and which in the capable hands of director Anton Korenči, crossed all barriers with ease, a testament to the professionalism and craft of its creative team and cast.
Plague and war are raging in Thebes and the people (chorus: Martin Stolár, Beáta Drotárová, Katarína Horňáková, Lívia Michalčík Dujavová, Juraj Zetyák, Adriana Ballová, František Balog and members of the ŠDKE Opera Choir) are desperate, and they look to their ruler, Oedipus (Matej Marušin), for help. When his brother-in-law, Creon (Jakub Kuka), returns from consulting the priest (Róbert Šudík) at Delphi to tell him that it is because the murderer of Laius, the former king, has never been found, Oedipus takes it upon himself to find the culprit.
The blind seer, Tiresias (Tomáš Diro), only confuses Oedipus when he tells him that the criminal he seeks is himself. Jocasta (Henrieta Kecerová), wife first of Laius and now Oedipus, arrives to console him and suggests he take no notice of prophets as those that foretold Laius would be killed by his son whereas he was killed at a fork in the road by bandits. Oedipus sends for a shepherd who witnessed events to get to the truth.
Oedipus is relieved when a Corinthian messenger (Peter Cibula) brings news that Polybus has died as it was once foretold he would kill his father and marry his mother. When the messenger confirms that neither Polybus or his wife were his real parents as he had been brought by a shepherd who had been asked to dispose of a child, the chorus confirm this is the same shepherd already called for.
The shepherd (Peter Čižmár) is tortured by a courtier (Andrej Palko) to reveal that the child he gave away was Laius’ own son, at the request of Jocasta to avoid the prediction that the child would kill his father. With the truth out, the chorus lament how a great man can be felled by his own fate, and the final bloody details play out.
Ondrej Zachar’s clever set uses two movable triangular podiums, enclosed on one side by a LED lighting display, and on another by a beaded curtain, to take characters into private spaces within the palace and the passion of Oedipus and Jocasta’s relationship was not held back. The use of colour in Silvia Korenči Zubajová’s costumes presented a classical pallor of white, black, and greys that was torn asunder by the blood red of Jocasta’s costume, the LED hinting further at the hell to follow.
The opening was gripping as Creon rises from the orchestra pit, a space soon filled by the chorus who instantly are at one with the audience and we with them; we too want to know what is going on and how it is going to be resolved. One of the greatest challenges in staging a classic is that we all know the ending but here the suspense is maintained throughout. I was particularly enthralled by the visual unravelling with Stanislava Vlčeková’s pulsating choreography for the chorus echoed by Jozef Vlk’s music with accompanying surtitles completing the hypnotic trance before Oedipus’ descent into a very personal hell.
With strong performances from all cast, Marušin resolutely navigates from Oedipus’ self-confidence to despair, and Kecerová is sexy and sultry until it gets too hot. Čižmár’s brooding character shows impeccable stage presence, whilst Diro caught all sides of Tiresias including an amazing split costume. Dujavová particularly stood out from the chorus.
Theatre in Košice has more than six centuries of tradition with the current building dating from 1897-99, and the Slovak National Theatre formed in 1920. Further details available at http://www.sdke.sk/sk/uvod
Reviewer: Mark Davoren
Reviewed: 16th December 2022
North West End UK Rating: ★★★★★