Toby Park claims that the “heightened emotions” of the Greek tragedies were the reason for theatre company Spymonkey to tackle the Oedipus story.
But watch the company’s online promo videos and the truth becomes clear.
The 40-somethings get to act like children and wear nappies on stage.
“That’s down to our costume designer, Lucy Bradridge,” claims Park, as we discuss how one goes about keeping the essentials warm on cold, unheated stages.
“She was inspired by 1970s sci-fi – by Barbarella, by Logan’s Run – and that sort of expresses the heightened sexuality of Jocasta and Oedipus.
He says those cultural references are the stuff the company watched when they were younger, coming of age.
“She did also say the thing was to get our old knackered-out bodies out as much as possible,” he adds, “so it is a victory for her.”
He admits when it snowed earlier in the year and they performed the play in Northampton, goosebumps arrived.
“We had those outdoor heaters on full blast and I was still freezing.
“Mind you, the nappies are beautiful. They make us laugh. They are silly but strangely dramatic and impressive at the same time.”
Spymonkey have made a career of theatrical invention.
The company began in Brighton in 1998 and is based out of New England House.
Their reputation led to tours with Cirque du Soleil but now they are back being their own bosses.
Park says themes of ageing come into Oedipussy, as well as the opportunity for some noble failure.
“As part of making a tragedy, we thought about what it might mean for us personally and one of the things we talked about was getting older and being in our 40s.
“Hurling yourself around the stage to make people laugh is a young person’s game, but at a certain point you become known as the old fogies still pushing themselves to the limit, so there is some poignancy there.
“We talk about what ageing means: Stefan taking painkillers to stop his knees from crumbling, and Petra’s feet are going – she’s got to have titanium put in them.”
Park admits they want people to feel as bad as they do at the end of the show because they’ve been laughing so hard.
But, he says, Spymonkey are not fluffy. The work is worthy of serious consideration.
Indeed, Oedipus is a grisly tale. There is, as everyone knows, incest and murder – and lots of it.
“It’s the most heavyweight show we’ve done,” says Park. “It’s certainly much more ambitious in terms of what we are trying to do dramatically.
“We dance on that line between shocking and funny.”
The cast is only four-strong but all the actors play several characters.
“Whatever anybody knows about Greek theatre or stories from that time, everybody has heard of Oedipus.
“It’s got a resonance for people and that is very useful because it hooks people in.
“With the title, people think they are going to see something vaguely familiar, but the back-story of how Oedipus gets cursed with killing his father and marrying his mother is not something everyone knows.
“Also, it has loads of sex and violence and fun things like that.”
Park composed an original score which borrows from John Barry, Pink Floyd, prog rock and jazz.
The set is conceptual – and enormous: the company are having to travel around with a 40ft container truck.
A reviewer from What’s On Stage once quipped, “If only all Greek mythology was taught this way.”
So, I wonder, should I bring the kids for an informative lesson on the classics?
“Everything in there is handled with due regard for sensitivity. I will be bringing my nine-year-old but whether he will be scarred for life, I don’t know.”
Theatre Royal Brighton, New Road, Monday, May 14, to Wednesday, May 16
Starts 7.45pm, £10. Call 01273 709709
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