1.) Malcolm Hardman. Arts Theatre. Cambridge, England. 1965.
It seems since the play is so old and known by so many that people have embedded in their mind how the character should be played before they even step into the theatre. According to this review, Malcolm Hardman speaks his lines clearly so that everyone can understand him, but his looks and movements seem lacking for this audience member. Apparently, this version of the character is not as manly and demanding as he could or should be but plays the ending tragic moments well. The reviewer even goes so far as to say that Hardman's co-stars to their best to carry him and not "upstage" him.
2.)Powers Boothe. Eisenhower Theatre, John F. Kennedy Center for the Performing Arts. Washington D.C. April 17-29, 1972
Boothe played the character of Oedipus with power and violence. He plays as a tyrant, not only to the other characters but to himself as well. A self-loathing man who fears the things fate will have him do, that he hasn't the power to control. Towards the end of the show, when everything is falling to pieces, the emotional drive appears to be very striking with the total break down of the character. Boothe turned Oedipus into this frightening yet pathetic leadership figure in the center of the stage.
3.)John Macintosh. The Performing Garage. New York. 1977.
This experimental approach to the story took many chances. Starting off with the "silent act", Macintosh entered the stage nude after his self-mutilation. For many moments he squats towards the earth, feeling the dirt in his fingers. As the show continues on, lines are added in. It is said that out of all the actors, Macintosh's performance deserved attention and respect. His line delivery was the best out of all and his risks worked out in his favor.
4.)Christan Blanc. National de la Region Nord-Pas-de-Calais, Odeon Theatre National. Paris, France. 1985
Trying to be shocking and different doesn't always work out, as seen by this performance. A traditional all male cast did not bode well for rendition of Oedipus. Blanc's acting was apparently so over the top and absurd it was completely unbelievable and almost unworthy of respect. His co-starts did not help carry him at all with their equal over-the-top acting style. You could not focus on the importance of what was being said due to what you were looking at.
5.)Ignaz Kirchner. Burgtheatre, Vienna. March 13, 1989.
This was a very violent and physical rendition of the classic tragedy. Kirchner added many levels to his performance. Not only was Oedipus a king controlled by fate and fits of anger, he was also a father and a husband who cared for his family. This performance brought something to mind that others of this kind lacked, humility. Oedipus, for all his flaws and complexities, was a person who loved.
6.)Billy Crudup. Blue Light Theatre Company. New York. 1998.
Billy Crudup and some of his fellow actors are what held up this performance of the well-known tragedy. With a dull staging and uninteresting set, it was the high quality performance Crudup gave that kept audiences in their seat. The mental struggle of the character came clear to the reviewer as he watched Crudup on his journey. Not only did Crudup keep the intensity and heaviness of the show, but he also added layers of "deadpan humor" to add texture to the role.
7.)Bill Christ. Denver Center Theatre Company. Stage Theatre. Denver, Colorado. 2005.
The performance by Bill Christ seemed to impress this reviewer greatly. Christ met all the expectations and then some. According to the article, Christ walked the stage with all of the history of the character inside him, as though he were actually Oedipus, walking the stage. There was never any question by reviewer of his performance lacking intensity or honesty. He melded with the scenes perfectly; being commanding and manly when needed but following the emotional ride as needed. The reviewer seemed very pleased with the performance.
8.)Neil Campbell. National Theatre of Scotland’s Young Company. Platform, Glasgow.2006
This performance of Oedipus Rex proves to audiences that saying the lines is not enough to engage the crowd, and that reciting them badly doesn't help either. It is clear, reading this review that people do not want to be "patronized" or belittled with attending the theatre. Oedipus Rex is a story that has been told by so many that there is no need to dumb it down for the common person. Neil Campbell should have spent more time with character development and voice work and spent less time speaking in formulaic tones, losing creditability.
Full Review: http://www.guardian.co.uk/stage/2006/nov/21/theatre3
9.)Ralph Fiennes. National Theatre. 2008
It seems that sometimes bringing big name actors into such a well-known play isn't always a good idea. According to one reviewer, Fiennes came off pompous, attempting to be very artsy and unique. It became apparent that you cannot just be a well-known face; good acting has to accompany that face as well. It is agreed though, that in the second half of the play, Fiennes pulled out the stops for the tragic scenes and played torment very well. In the end, it would seem that the audiences enjoyment of the show falls on to whether you are a fan of the actor or not, if his face is all you need to be content.
10.)Mark-Brian Sonna. Stone Cottage Theatre. April 2009.
Mark-Brian Sonna not only acted in the leading role, but directed the show as well. To this performance, Sonna brought in all the emotional intensity it required and made the audience believe who he was, a king. He played a ruler, not so much with command and defiance but with "dignity and regal bearing".
Full Review: http://www.oedipusrex.org/reviews.html
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