On April 21, acclaimed performers and public servants gathered at Gaston Hall to draw attention to one of the most pressing issues of today: climate change. Hosted by a collaboration of Georgetown University groups as part of Washington, D.C.’s Climate Week, “The Oedipus Project” strived to use Sophocles’ “Oedipus the King” to analyze ecological disaster, leadership and environmental justice, framed by the play’s themes of arrogant leadership and denial. Georgetown students, graduates and visitors gathered to witness one of the most memorable and dynamic events I have ever attended.
Starring Jesse Eisenberg as the eponymous Oedipus, “The Oedipus Project” featured a two-scene read-through of the play followed by a panel-moderated discussion that involved both the real-life audience in Gaston Hall and thousands of Zoom spectators. The organizers set the theme of the evening around the tone of democratic pluralism, where speakers did not preach to audiences but, instead, conversed with them.
In addition to Eisenberg, the read-through also featured Maryland native and actress Erika Rose, Senate Minority Leader Chuck Schumer (D-N.Y.), renowned circus clown Bill Irwin, Emmy award-winning actress Mare Winningham, New York City Public Advocate Jumaane Williams, health policy leader Dr. Anthony Fauci and celebrated actor Craig Wallace.
With such an eccentric and unique cast, the read-through was invigorating, equal parts tragic and humorous. Particularly, Fauci’s cinematic entrance as Tiresias the blind prophet, with sunglasses coolly perched on his nose, sparked many laughs. Though it was evident that rehearsal time for the read-through had been limited — one of the organizers said it was less than 45 minutes — the momentary mistakes often worked to elevate the performance as moments of improv and reprieve. It never felt like a stilted table read but, rather, like the first beginnings of something that could truly impassion and enact change.
Much credit for this must go to the sheer talent and acting ability Eisenberg brought to his role. Despite mixing up the pages of the script once (he covered up the mistake in a manner that was both seamless and charming), Eisenberg was confident and assured, speaking with a conviction that allowed audiences to believe he truly was the arrogant Oedipus. Even with his ratty nondescript hoodie and red Indiana University cap, Eisenberg shone in his role.
For those unfamiliar with the play, “Oedipus the King” follows the story of Oedipus, newly-crowned king of Thebes, as he confronts a plague on his city. For this retelling, the two performed scenes see the conversations between Oedipus, his wife Jocasta (Mare Winningham), his brother-in-law Creon (Jumaane Williams), Tiresias, the priests of Zeus (Bill Irwin, Erika Rose and Chuck Schumer) and the Shepherd (Craig Wallace) as they try to alleviate the plague’s effects. Over the course of the first scene, the priests reveal that the plague is a godly curse on Thebes for the cruel unsolved murder of their previous king, Laius. According to the priests, exiling the murderer will rid the city of the disease. Hence, the play becomes a whodunit mystery story wrapped in a Greek tragedy.
Of course, the main twist is that the murderer is actually Oedipus, fated to kill his father, marry his mother — revealed to indeed be Jocasta — and have horribly deformed children. Although almost every audience member knows this twist, the tense and emotional execution of it during the read-through was still impactful, as each member of the line-up pulled out their best acting chops. Moreover, what was striking were the casting choices, such as Eisenberg as Oedipus and Fauci as the blind truth-teller that Oedipus denies and rages against. The real-life parallels in these casting choices, from Eisenberg’s previous role as controversial tech tycoon Mark Zuckerberg in “The Social Network” to Fauci’s stint as advisor to President Donald Trump during COVID-19, transformed the performance from a simple read-through into its own poignant interpretation.
Eisenberg made the brilliant artistic choice to play Oedipus with the same nervous condescension with which he played Zuckerberg. This, along with the other casting of Williams as Oedipus’ rational foil, Creon, helped seamlessly connect the play to the issue of the evening: the importance of climate justice.
After the performance elapsed, the audience — which was meant to be cosplaying the troubled citizens of Thebes — were invited to join the panel. From a comparison between Oedipus and today’s arrogant rich men to the display of how nature guided the characters to the truth, audience members found much with which to connect. Throughout the discussion, a somber and silent atmosphere engulfed Gaston as we all grappled with what we had just witnessed. The startling similarities of our reality and Oedipus’ fate became all too clear.
With such a crucial and reverberating message successfully delivered, “The Oedipus Project” was a remarkable evening that was able to accomplish exactly what it set out to do. It not only served as a model for how to execute art-based activism skillfully but also was a stark reminder of the climate crisis humanity must reconcile with. One can only hope we are able to reverse our own prophecy before it is too late.
