'Oedipus' mesmerizing despite flaws

From the moment the house opened Friday evening at the University Theatre, a sense of horror filled the space. Hollow sounds of eminent doom echoed as the audience waited for "Oedipus the King" by Sophocles to begin the first of its eight performances for the Department of Theatre and Drama.\nThis production of "Oedipus" was frightening and awe-inspiring to watch, but a few elements did not flow with the production of the play.\nAlthough the story of Oedipus is not a mystery to most audiences, the unexpected played into the theme of the evening -- fear -- as the play began. Oedipus, the King of Thebes, faces an inexorable plague that he, the master of riddles, cannot fix. In an attempt to seek the cure, Oedipus finds himself questioning his crown and cradle, resulting in a horrific demise.\nIn many ways, the production design was modern, but the set paid homage to elements of Greek theater with its altar to Apollo and setting of Oedipus' palace rather than adapting it to a separate setting.\nVisiting lecturer Edward Haynes created a vision of illness facing the sleek, hellish palace of Oedipus. The metallic paneling and marble-like columns gave the palace the quality of being a place of doom under the guise of a place of honor. The dusty, leaf-ridden steps to the palace foretold the plague before a word was spoken.\nThe play began with various characters withering onto the stage to pray to Apollo for an end or a sign leading to the conclusion of the plague. Decked out in post-World War II and Eastern European garb, the costumes were intellectually fascinating but aesthetically inconsistent with the rest of the production design.\nTo complement the set design, lighting designer and associate professor Robert A. Shakespeare manipulated the eye using a variety of colors representing moods ranging from hopeful to sickening to lonely. Overall a spectacular visual experience, the set featured a specific design surrounding the chorus, which used moving white light beams that created the ultimate portrayal of the collective subconscious of a people's mind.\nDirector and professor Howard Jensen orchestrated a staging concept unparalleled at the University Theatre (except, perhaps, by "Equus" director and assistant professor Murray McGibbon) in terms of phrasing the stage movement to utlize the whole stage. With a few minor exceptions, such as Creon's first entrance and Oedipus' gestures at the beginning, the visualization of the text was as natural and seamless as possible.\nJensen also made the lengthy speeches seem, for the most part, as normal stage speeches, building them from one quality to another often complemented by the lighting and sound design.\nBut "Oedipus the King" did have flaws coming from a few performances by the actors. The most prominent character in the play, Oedipus, was portrayed by graduate student Geoff Wilson. Oedipus is plagued by the tragic flaw of all classical tragic heroes -- hubris, or excessive pride. Wilson hit that nail right on the head.\nBut Wilson's Oedipus did not soar above that. His energy from the beginning of the play was so high that it never went anywhere but sideways. He lacked a certain regal quality that makes Oedipus a great ruler and an awe-inspiring person. Emotionally, Wilson was dead on, but the focus of those emotions was often misplaced. \nPerformances of note came from the three-person chorus consisting of junior Carol Enoch, senior Emily Zoss and graduate student Jose Garcia. all who possessed terrific personal and choral deliveries that made them memorable.\nThe best performance in the play came from junior Abdul Khaliq Murtadha as the blind prophet Teiresias. Puzzling to explain, Murtadha's acting was superb and all of his choices were well conceived, executed and felt.\nWhile not perfect, the IU departmental production of "Oedipus the King" was extraordinary. Despite the often ineffective acting, the production is well worth the ticket price.