A casting error in a very classic proposal
Carlota Subirós makes an immersion in Sophocles at the National Theatre with an excellent direction of performers
- Based on Sophocles' 'Oedipus Rex', 'Oedipus at Colonus', and 'Antigone'Version and direction: Carlota SubirósPerformers: Moha Amazian, Lurdes Barba, Babou Cham, Joel Cojal, Oriol Genís, Jordi Martínez, Vicenta Ndongo, Albert Pérez, Kathy Sey, Yolanda Sey, Yolanda Sikara, Junyi Sun and Moïse TaxéTNC Sala Gran. Until May 31, 2026
It is very unusual for the great Greek classics to appear on the Barcelona theatre scene (the last one, I think, was Èdip directed by Oriol Broggi at the Romea with Julio Manrique in the lead role in 2018).'Èdip directed by Oriol Broggi at the Romea with Julio Manrique in the lead role in 2018). Hence the expectation surrounding Carlota Subirós's proposal, which brings together the three tragedies of Sophocles in a single performance in the natural order of events and not of writing, since Èdip a Colonos, the least performed worldwide, is the last but fits perfectly between the two most frequently staged: Èdip rei and Antígona. It fits but its lesser interest and lack of theatricality compared to the magnificent impact of the other two is clear.
Far from the peculiar revision she did of La plaça del diamant, Subirós has made a classical proposal, letting the narrative flow and thus preserving the word in Carles Riba's translation and the role of the chorus. It is a very correct proposal with little intensity and suffering from a crucial casting error. It might be due to opening night jitters, but Babou Cham's Èdip, who doesn't quite carry the first two plays, lacked the strength of a king and showed diction problems that improved slightly during the performance. The problem is more evident due to the clarity and presence of Vicenta Ndongo's Jocasta, Oriol Genís's Tiresias, Jordi Martínez's Creon, Albert Pérez's messenger, Moha Amazian's Theseus (little role for this actor), Ludes Barba's servant, Yolanda Sikara's Eurydice, and a chorus that, with the vocal contribution of the Key sisters to Clara Aguilar's sound design, recreates the tragic atmosphere.
Everything changes with Kathy Sey's Antígona and Yolanda Sey's Ismene confronted with Creon. Also very good is Moise Taixé's Polinices and Joel Cojal's Hemon. The overall direction of the performers is excellent. Functional stage design (Max Glanezel and Josep Iglesias) for Èdip rei with tiered seating in the proscenium and a more poetic desert for Èdip a Colonos and Antígona.
