Oedipus El Rey


What Sophocles left offstage — the violence, the sex — Mr. Yew confidently stages. Out on the streets for the first time as a full-grown man, he gets into a road-rage argument and kills a man en route to Los Angeles. Oedipus el Rey (Extended January 28 - March 14).

For lack of other significant input, primary design impacts are made by Sidman’s lighting (though it’s held in check for too long) and Jake Rodriguez’s busy sound design. Stories about meritocracy and opportunity, about talent, hope and help. And so it goes here. Read Next: Nick Cordero Tribute Concert Set for Labor Day Weekend on Broadway on Demand WORLD PREMIERE. In America, there are stories we like to tell. Then a Costco robbery lands him in lockup. “I don’t want him chasing me in the afterlife,” Laius says.A rescued Oedipus (Juan Castano), nicknamed “Patas Malas,” or the not-so-macho “Bad Legs,” grows up unmoored. Mr. Castano is at center in front of it. The fight scenes, choreographed by The framing dialogue doesn’t help, as when Jocasta insists, “You’re a part of me. And then he beds Laius’s widow, Jocasta (Sandra Delgado).On Riccardo Hernandez’s set, adorned with a lurid mural of the Virgin of Guadalupe, Mr. Alfaro riffs on his Greek source, but this play is a negative of the Sophocles original. © Copyright 2020 Variety Media, LLC, a subsidiary of Penske Business Media, LLC. The latter tells Oedipus a parable-like story about a king (Eric Aviles) so fearful of an oracle’s prediction — that he’d be killed by his own son — he ordered a servant to slaughter his newborn child. Variety and the Flying V logos are trademarks of Variety Media, LLC.

But Mr. Alfaro’s version is both a reiteration of a classic tale and an invitation to flip the script. He’s crossed seas and centuries to appear in Luis Alfaro’s vigorous and pointed The play opens in a prison complex, as a convict chorus rushes around the stage in orange scrubs and tries to decide what story to tell. Same old, same old. The incantatory chants of a four-man chorus (Pinate, Aviles, Rodriguez, CarlosAguirre) are Alfaro’s most pretentious passages, at least until they develop some humor later on.

Greco uses mime and pop songs sung (mostly poorly) a capella as color, but these devices play like uninspired filler. (If most of the language is vibrant, some of Mr. Alfaro’s Spanglish chat is equally risible: “Gato got your tongue?”)A couple of millenniums on, it isn’t much of a spoiler to note that Oedipus eventually blinds himself and Jocasta kills herself.
Do you believe in destiny? Stories are boring, some prisoners say; they’re depressing, they don’t change anything. Sometimes less is just less, as demonstrated by "Oedipus el Rey. Review: A Timely Take on ‘Oedipus’ by Way of South Central Los … Little does Oedipus realize her late husband is the man he had killed — or that she’s his own mother.Staged on a plain plywood floor rectangle with few props and no backdrop apart from lighting designer Sarah Sidman’s rows of headlights, “Rey” makes a strained first impression.

I am my own person.” But within days of his release, he unknowingly kills Laius in a road rage incident. When Oedipus repeatedly dashes back and forth in the smallish playspace, it signifies nothing beyond workshop actor business.But the writing (which mixes English and scattered Spanish phrases) is both lush and sharp in dialogue scenes, particularly those between unknowingly against-nature lovers Oedipus and Jocasta.
Oedipus El Rey: 2010 Premiere "Alfaro may be the first, Sophocles included, to place the love of Oedipus and Jocasta squarely at the play's tragic center. More than that, he makes it resonate with a passion fully enhanced not only by the spare poetry of his text but also by Greco's intense staging and the naked vulnerability of two fully committed actors in the show that opened Wednesday." Torrez and Dias gamely endure a long sequence of naked entanglings.

In the prison yard Oedipus can claim, “Names don’t define me. "Oedipus (Joshua Torrez) is a cocky, heavily tattooed youth who’s spent most of his life in lockup, now leaving behind both prison and Tiresias (Marc David Pinate), the man who raised him. What preoccupied the Greeks — the shepherds, the oracles, the hunt for Laius’s murderer — falls away.This gives “Oedipus El Rey” swagger, oomph and economy, but it also makes for a salacious watch. As is, Torrez’s hithero potently arrogant, fate-tempting (“I’m more powerful than God”) Oedipus speeds through his collapse and punitive self- mutilation.Among other thesps — all cast in multiple roles — Dias makes the most of Jocasta’s unexpected reawakening of passion, while Rodriguez is touching as her equally concerned and jealous brother.

If it begins feeling stagey, “Oedipus El Rey” becomes brutal and direct, but also graphically sensuous and oddly tender — ultimately in all ways gripping. Play and staging gain in strength as the short evening proceed, though again, greater attention to the visuals could have amplified the horror in our hero’s climactic revelation of patricide and incest. As a Chicano orphan reared by the foster and prison systems, that is his fate.But if Mr. Alfaro’s play ends much as it begins, with the same orange-clad chorus repeating many of the same lines, it challenges us to learn from Oedipus’s tale.“Can we live the story not yet told, and the possibility not yet imagined?” the chorus asks. It is a grim and dynamic reminder that we are living in a political moment when stories matter, old ones and new ones, true ones and fake ones.Is this story a helpful one? But the soft-hearted would-be assassin instead fled with the infant, despite being struck blind by the gods for his betrayal.In Alfaro’s version Oedipus grows up a revolving-door habitue of juvenile, then adult corrective facilities. I don’t know why,” a line that had the audience giggling.

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