(above) Oedipus unknowingly embraces his mother as a lover, fulfilling the second part.
Astronomy. Philosophy. Architecture. Ancient Greek culture is known for its many historical contributions to society. But drama was their specialty, with tragedy the king of Greek theatre. An old tale of violence, murder, incest and angry gods is just as thrilling thousands of years later.
Sophocles’ tragedy, “Oedipus Rex,” has been given new life in an adaptation by Latino playwright Luis Alfaro. His adaptation, “Oedipus El Rey” echoes the plot of the Greek play about a man cursed by fate to kill his father and commit incest with his mother.
But it replaces Greek mythology with Aztec mythology (mitos) and focuses on contemporary issues, shedding light on the high rate of racially tinged incarceration suffered by the Latino community in California.
Sandra Cortez, director and adjunct professor at Southwestern College, brings the tragedy of “Oedipus El Rey” to the stage. With the personal blessing of Alfaro himself, she has set the play in Barrio Logan.
A cry of the Aztec death whistle is heard coming from a conch shell to open the play. Doomed inmates appear on the stage bound not in chains around their legs but with Aztec dancing bells, representing how people are chained to their culture.
Oedipus Gomez (Anthony Antonisyzn) dances his way onto the stage in a style reminiscent of Aztec concheros. These traditional Aztec dancers were able to keep their culture alive by incorporating ancient ritual with Catholic imagery while under Spanish rule.
Following in the Greek tradition of a chorus, various actors play the role of the coro (chorus in Spanish) throughout the entire production. Coro members were right on cue in delivering witty and fast paced Chicano humor. They were essential to the enjoyment and structure of the story and did well in their roles as narrators.
While incarcerated, Oedipus delivers a touching and heartbreaking monologue with the help of the coro about growing up in the system and his hopes for rehabilitation.
“I never knew my mother,” Oedipus said. “She left me to a life of picking pockets, selling pot and juvenile detention. It’s no good to dream in here. To wish for things makes you crazy. It makes you sad. That’s why I have to leave. Sometimes you do things in here that are not really you.”
As Antonisyzn delivered this powerful speech, he made direct eye contact with the audience, making them feel as though they were a part of his story. The audience feels sympathy toward the naïve juvenile who knows only a life of institutions. He makes the audience feel as though they are jury members judging him.
In a twist of the Greek drama, instead of a king and a kingdom, grand leader Lauis (Arturo Medina) runs Barrio Logan with his queen Jacosta (Gracie Juarez). But just like the Greek drama, a prophecy warns of patricide and incest, and Lauis commands Tiresias (Benjamin Diaz) to abandon the child in Balboa Park. Tiresias cannot leave the infant to die and takes the child away from San Diego and raises Oedipus as his own, hoping to avert the fate the gods have already decided on.
Fast forward several years later, an incarcerated but optimistic Oedipus hopes for a better future. Unknowing the fate destiny has in store for him, he returns to San Diego, kills Lauis, falls in love and marries his mother. He also returns to a life of crime. His cowardice creates a wave of tragedy. Eventually the truth is revealed- Oedipus blinds himself and Jacosta takes her own life. The play ends with Oedipus Gomez once again going back to a life behind bars imprisoned due to desire and socio-economics.
Set design was kept very simple for this production. Only a structure resembling an Aztec kiosk, like the one located in Barrio Logan’s Chicano Park, appeared on the stage throughout the entire performance. As the scene shifted between the prison and the streets of the barrio to the bedroom, only a lavish bed was placed center underneath the kiosk to differentiate between the locations. The minimalist set worked well with this production because the dialogue was the most important part of the play.
Costumes painted the stage with their bright hues. Aztec costumes used for the Tecolotes (owls), and mystical double-headed serpant, Esfinge (sphinx), were beautifully hand crafted and were the most impressive costumes in the show. At times they even glowed in the dark, revealing hidden works of art that were only visible under the black light.
Apart from the creative incorporation of the Chichimenca indigenous dance tradition that opened the show, music was very much part of the production. Oldies that are popular with Latinos, including, “In the Still of the Night’’ and “Nowhere to Run, Nowhere to Hide” were played during scenes to enhance what the characters were going through emotionally. Amy Winehouse’s, “Will you Still Love Me Tomorrow” was played was during the evocative accidental incest scene between Oedipus and Jacosta. The scene was uncomfortable to watch, but at the same time the audience’s eyes are drawn to the stage. Especially as Oedipus literally “fills spaces that were empty inside” his mother. This scene drips with dramatic irony, as the audience knows the terrible prophecy has finally bore its sinful fruit.
Some comedic moments are presented from the coro that lightens up the otherwise dark plot. A great example is when Oedipus finds himself in Chicano Park amongst the vendors, which include a lady selling tamales, a palletero (ice cream man) and an all too funny moment when actor Ronald Ellis asked audience members if they would care to purchase chicle (chewing gum).
Antoniszyn’s performance of Oedipus Gomez was surreal and believable. His delivery was natural. However, the role did not come easy. Antoniszyn said it was a difficult role, requiring him to, “explore darker emotions.”
“As for the process, it was hard because of the violence. Breaking down the who and the why because the character of Oedipus was violent in his actions,” he said.
Medina and Diaz were astonishing in their roles as well. Playing the violent and macho Laius, Medina belted out brutal lines such as, “Let’s scare the Gods. Go to Balboa Park and hang him from a tree. Like a chivo. Let the life drain from him. The coyotes will do the rest.”
The light to Laius’s dark character was that of Tiresias. His lines offered hope in a time of disparity. His line, “The only thing that needs healing is the soul,” was said with such tenderness. It was no wonder he was Oedipus’s guide through life and the prison system.
One unfortunate aspect was that the advertising for “El Rey” was not more abundant. Very few flyers were seen around the college campus only a couple weeks before the show. Like Oedipus, director Cortez worked with the theatre budget the gods presented her with. “Oedipus El Rey” represents a segment of society that often is not depicted in theatre.
When asked what kind of an impact he hoped the audience left Mayan Hall with, actor Antoniszyn stated, “I would want the audience to leave knowing that we are the captains of our own ships.”
