David Sard's adaptation of the tragedy of Oedipus has more than a few compelling moments, spotlights an interesting young actor, but suffers from thin, obvious dialogue.
Sard, a psychologist by training, cleverly divined that an interesting script could be had by setting Oedipus in a battered urban milieu. And so we meet Eddie, a morose young man from a foster home who abruptly engages in a tussle with a revolting local tough named Larry. After Eddie kills Larry with his bare hands, he meets up with Larry's widow, Jo, and a passionate romance blooms. Eddie then becomes a kind of community activist who upsets some of Larry's former compatriots. They retaliate by telling Jo that Eddie is the long-lost son she had by Larry and gave away.
Structurally Sard does a solid job, though he could have spent more time on Eddie's life before his parental encounters. The play weaves its way through the old plot seamlessly and keeps your interest. The scenes, however, mostly fail to crackle, as Sard uses flat language without effectively employing subtext or nuance.
Lorca Peress' spotty direction doesn't help much. Much of the movement is uninspired, the transitions are awkward, and the actors don't connect to each other. Nevertheless, Peress gets an intriguing performance from Angelo Rosso as Eddie; Rosso pumps, poses, and emotes with conviction. Ana Mercedes Torres is believable but lacking in charisma as Jo. Stephen Innocenzi shows a Godfather-ly flair as Larry and in a variety of other roles. Jerry Rago effectively employs a similar style in a number of parts. Rounding things out is the charming nonagenarian Anita Velez-Mitchell as the older Jo and in other roles.
Presented by David Sard
at the Hudson Guild Theatre, 441 W. 26th St., NYC.
Sept. 8-24. Wed.-Sat., 8 p.m.; Sun., 3 p.m.
(212) 868-4444 or www.smarttix.com.