The Gospel at Colonus

A Casebook

Sheryl Davis

THE 719

Scot Lahaie

Table of Contents

Script Summary……………………………………………… 3Source Material VS New Material……………………..5Educational Packet…………………….…………………….7Production History………………………………………….15Script Analysis…………………………………………………22Program Notes…………………………………………………24Press Release……………………………………………………25Glossary of Terms..……………………………………………27Bibliography..……………………………………………………29

Script Summary

In The Gospel at Colonus, the story of Oedipus’s last days is told in a black Pentecostal church environment using the text as source scripture. While that seems a bit sacrilegious, it works because Oedipus’s story is told as a redemption story showing how forgiveness can salvage a person’s soul. There are also beautiful songs that follow the themes of living well: “Live Where You Can,” suffering: “How Shall I See You Through My Tears,” fate: “A Voice Foretold,” love, “Love Unconquerable,” and salvation: “Now Let the Weeping Cease.”

In this version of Oedipus’s story, Oedipus has rejected all responsibility for what befell him as a curse from the gods, yet he holds his son and Creon responsible for the exile he declared on himself. Breuer’s choice of setting may mirror the African American mentality that blames oppression and suffering at the hands of one’s oppressor for all the wrongs in life while refusing to see the choices that played a part in the current destination. Breuer is not laying all fault at Oedipus’s feet, but he is highlighting the disparity between how Oedipus sees his own actions and how he views the action or inaction of others. Creon and Polynices are also not blameless, and Bruner gives both men the role of antagonist, yet still there are moments during Oedipus’s discussions with them that show Breuer’s attempt to point out the hypocrisy such when Creon arrives and states that Thebes is shamed by the condition of its former king, begging Oedipus to come home (26). This seems like a kind act until Oedipus reveals that there is a prophesy which indicates that whoever’s land he is buried on will receive blessings and honor and Creon kidnaps Ismene and Antigone (27-28).

Finally, Theseus, as the pastor, is a kind of God figure. He directs Oedipus, saves Ismene and Antigone, and finally helps Oedipus find redemption and a peaceful death. He switches between those roles preaching the “gospel” and creating a salvation experience for Oedipus.

Some possible issues with this combination of two religious sects are the comparison between Oedipus’s innocence and resurrection and that of Jesus Christ. Audiences may struggle with feeling one or the other profaned in some way. Another issue theologically comes at the end when the Preacher says, “Let the weeping cease . . . there is no end.” This section gives the message that every road leads to salvation and it does not matter which path one follows to get there. For the Christian audience, this will be difficult to accept. Care should be taken when addressing these issues.

The New Version vs the Original

Both The Gospel at Colonus and Oedipus at Colonus follow the same plot points, devices, and characters. What sets them apart however, is the style with which the show is produced, the duplication of characters into different parts for the peaching, singing, or evangelizing voices, and the setting of each play. The most important change though is the ending in The Gospel at Colonus where instead of departing into Tartarus as is expected, Oedipus is resurrected like Christ to live in heaven.

In his adaption of Oedipus at Colonus, Lee Breuer does an excellent job marrying the classic language of Fitzgerald’s translation to the sing-song flow of a black Pentecostal church service. He recognized through his research that the original Greek theatre resembled a rock concert more than a sedate church service (Beigler). He saw the same elements in the black Pentecostal church and chose to make what more people see as classic and therefore stuffy and create a thoroughly modern yet also authentic experience. He leaves the dialogue mostly intact while turning the Choragos and choral elements into gospel choir hymns. The plot elements also stay the same, with the addition of characters like the balladeer who functions as a sort of narrator and two different players as Oedipus: one who embodies his suffering, blindness, and shame, and one who embodies the power of his position, experiences, and life. Another character addition is Breuer’s division of the choir into the larger full gospel choir for big numbers and a smaller quartet for more intimate moments.

Some notable differences are the addition of a summary of what transpired before in Oedipus’s story, the engagement that happens between the choir and the preacher, and the addition of some songs that did not appear in Fitzgerald’s translation. At the beginning of the play, Breuer’s addition of background information coming from the preacher as he sets the scene for his “sermon” suggests that Breuer felt his audience may not be familiar with Oedipus’s tragic story. He follows this with the first song to set the scene and define the theme of the show “Live Where You Can.” Next, in true Pentecostal form, the hallelujahs and amens become more animated as the story continues. This engagement between the preacher and the choir take on a free-spirited call response at the end. This creates an emotional build and identification for the audience. Finally, Breuer has added several songs that add to the emotional/religious intensity by recreating the natural praise and worship feature of Pentecostal church services. These songs include “Lift Him Up” and “Let the Weeping Cease.” By the end of the play, the fervent pitch of the choir has slowed, the “benediction” is given, and message of the show, dignity in death and salvation through suffering and oppression are related as the preacher “brings the sermon home” (54).

Educational Packet

Dear Educator,

Thank for participating in the exciting cultural experience that is live theatre. The show you have come to see is especially exciting because it is a fusion of many cultures, genres, and themes. The Gospel at Colonus was inspired by author Lee Breuer’s visit to Japan and exposure to Kabuki theatre. Kabuki has a unique frame and flow with most action being sung and just a little being dialogue and narration. Breuer has taken this, combined it with classic Greek tragedy, added a liberal dose of Afro-centric Pentecostal church flow, and an American style Broadway production to create a cultural celebration of what it means to be human, make mistakes, and find catharsis.

The show is based on Sophocles’s last work, Oedipus at Colonus, a discourse on dignified death and the ability to be redeemed. Oedipus at Colonus is the second part of the story of Laius’s family. The trilogy begins with Oedipus Rex, continues with Oedipus at Colonus, and ends with the story of Antigone. Interestingly, these pieces were written completely out of order. Antigone, written around 441 BC, is the last of the trilogy despite being written first. It is the story of Oedipus’s daughter, Antigone, who defies the new king and buries her brother Polynices. Ultimately, it is the story of how a curse given to her grandfather Laius for his horrible actions winds up wiping out almost his entire family. After Antigone was written, Sophocles added the tale of Oedipus in Oedipus Rex. This is the prequel to Antigone and explains how Oedipus’s story began. He was cursed before birth, gotten rid of, ran away to escape a prophesy, and wound up fulfilling that prophecy because he ran away. As Sophocles aged, his views on death and redemption appear to change, and Oedipus at Colonus reflects those changing views. In the first two plays, Oedipus’s guilt is not questioned or denied, yet Oedipus at Colonus a very different tale is told. Suddenly, Oedipus is a victim of gods’ capricious nature and holds no responsibility for the fates that have befallen him.

Oedipus’s Family Tree

https://www.pinterest.com/pin/420453315182581683/

Trilogy Synopsis

Characters

http://slideplayer.com/slide/4150477/

Oedipus Rex

Oedipus at Colonus

Antigone

1. Antigone’s brothers fight for the throne.

2. Both die.

3. Creon becomes king and declares one deserving of honor and the other not.

4. Antigone refuses to honor man’s law by defying god’s law. She gives Polynices burial rites, is found out, refuses Creon’s request to discuss it privately, and is condemned to die.

5. Creon condemns her to death.

6. Haemon defends her and tries to change Creon’s mind. Creon refuses. Tiresias prophesies that Creon will lose everything. The Chorus chimes in. Creon relents but it is too late. Antigone has hung herself, Haemon attacks his father then kills himself, Eurydice condemns Creon and stabs herself. Ismene is the only one left.

Greek Theatrehttps://www.123rf.com/photo_23698205_ancient-greek-theatre-under-acropolis-of-athens-greece-in-b-w-and-blue.html

https://sites.google.com/a/iolani.org/english-10-ms-lang/f-oedipus-rex/greek-theater

Theatre Etiquette

For many students, this will be their first experience with live theatre. Take a few minutes to explain to students what to expect. Review the playbill and program notes when you arrive. Below are a few reminders about appropriate theatre etiquette.

· Remain seated throughout the entire production. If you need to use the restroom, do so before the show or during intermission.

· It is not appropriate to heckle or cat-call the players, but laughing, clapping, and showing appreciation for the performance is always acceptable. Actors prefer an involved, interactive audience as opposed to a silent one.

· Cell phone use is strictly prohibited. Pictures and videos of the show are not allowed.

· Intermission will last from 10-15 depending on the length of the show. Use it wisely. When the lights flicker, the show is about to begin.

· Please do not sing along loudly with the performers. This is a distraction for the other audience members as well as the players.

Playbill Scavenger Hunt

1. Who is the play’s author?

2. What is the director’s name?

3. What is the most recent show the title character has been in?

4. Who sponsored the show?

5. Who directed the music?

6. When did the show first hit Broadway?

7. What is the last actor’s name in the playbill?

8. What is the name of the last song?

9. Who is responsible for sound and lights?

10. What is the name of the song right before intermission?

Talk Back Questions

1. How is The Gospel at Colonus different from regular musicals? Did you enjoy this format? Why or why not?

2. Would you consider Oedipus a hero in this story? Why or why not?

3. How did the double casting of Oedipus affect the story being told? Do you feel it was an effective choice?

4. Did you sympathize with Polynices? If so, what part of his story engendered your sympathy? If not, what part of his story turned you against him?

5. How did Breuer use music to blend Greek and African American culture effectively? Did you find the format confusing at all? Why or why not?

·

Production History

The Gospel at Colonus was first produced at the Brooklyn Academy of Music’s New Wave Festival in Nov. and Dec. of 1983 (BAM Archives). It starred Morgan Freeman, Isabel Monk, Carl Lumbly, Robert Earl Jones, and Kevin Davis. Also appearing in the company were the Institutional Radio Choir, Blind Boys Of Alabama, The Original Soul Stirrers, J. D. Steele Singers, and The Bob Telson Band.

The singers were Clarence Fountain, J. J. Farley, Rev. Olice Thomas, J T Clinkscales, Joseph Watson, Sam Butler Jr., Bobby Butler, Hardric Seay, Ben Odom, Jackie Banks, J. D. Steele, Frederick Steele, Jevetta Steele, Martin Jacox, Willie Rogers, and Jearlyn Steele-Battle. https://www.google.com/imgres?imgurl=http%3A%2F%2Flevyarchive.bam.org%2Fmedia%2Fbam2012%2Fimages%2F3%2F8%2F3%2F99208_ca_object_representations_media_38350_small.jpg&imgrefurl=http%3A%2F%2Flevyarchive.bam.org%2FDetail%2Foccurrences%2F10&docid=HZvb5n9y_cFFzM&tbnid=srAuC0dDVhWM7M%3A&vet=10ahUKEwjI1qqbtOTaAhWQiOAKHewVAwMQMwg6KAEwAQ..i&w=159&h=240&bih=510&biw=1093&q=gospel%20at%20colonus%20bam%20festival&ved=0ahUKEwjI1qqbtOTaAhWQiOAKHewVAwMQMwg6KAEwAQ&iact=mrc&uact=8

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http://levyarchive.bam.org/Detail/occurrences/10

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The following year it appeared on the Arena Stage in Washington D.C. during the same time frame and next at the American Music Theater Festival, Philadelphia, in September 1985. The Gospel at Colonus opened on Broadway March 11, 1988 and closed in May after 61 performances. Lee Breuer directed and brought most of his original cast back for the production.

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Counter-text Materials

The Gospel at Colonus was developed after Lee Breuer spent time in Japan and experienced Kabuki theatre (Rabkin). He took that cultural experience and fused it into a unique cultural experience that could be called black Kabuki gospel theatre. The Gospel in Colonus uses the tale of Oedipus’s final days to showcase an everyday black Pentecostal church service. The theme of the service and the play centers on the idea of redemption. The opening liturgy could be the start of any church service up until the preacher takes “for [his] text, book of Oedipus” (Rabkin). Breuer notes that the rhythm of the dialogue and music is intended to mirror both the Fitzgerald translation and the didactic or oratorical rhythms of a black church service. This creates an interesting position for non-Christian and non-black audience members who are unfamiliar with the more rousing call-answer sort of service.

Breuer deviates at this point, however, by including multiple cast members filling the same roles at different times. Each change highlights a shift in position or emotion for Oedipus. Sometimes he is a strong, experienced man counselling or leading Antigone and Ismene while at other times, he is a poor, blind, abused, convicted man refusing to accept that he had any responsibility for the chaos wrought by his actions. Another aspect of the multiplicity of actors in each role is the fact that Oedipus was originally played by all the Five Blind Boys of Alabama, as well as the character who played the preacher. This idea alludes to the fact that Oedipus’s physical blindness, just like that of Tiresias’s, led to a spiritual vision (Rabkin). Because of his physical blindness, Oedipus’s spiritual discernment skills were honed, and he was able to “see” the true nature of the other characters (Rabkin).

Suffering and oppression are themes to be aware of in The Gospel at Colonus (Hill). There is a strong correlation between Oedipus’s fate being cursed by the gods and the oppression and suffering of the African American community (Hill). The first evidence for this comes from the sermon structure used by the Preacher as he opens the show. He uses a standard introduction structure that is common in the black community regardless of denominational affiliation (Hill). Interestingly, the reliance on a standard ritual is something that transcends culture and is found in both Greek, Japanese, and African American religious services (Hill). Breuer uses this element to bring the original atmosphere of Greek theatre to the modern American stage by relating the suffering and oppression of the pre-Civil Rights black community with the suffering Oedipus endures at the hands of the Fates. This comes from a theological belief in generational curses as mentioned in Exodus 20:5; 34:7; Numbers 14:18; and Deuteronomy 5:9, where the Bible states that God is a jealous God, visiting the sins of the father upon the son to the third and fourth generations of those that hate Him. The African American community identifies with this idea and therefore is very receptive to the theme of redemption and salvation expressed in “Lift Him Up” and “Weep No More” at the end of the show. Oedipus was cursed before he was born because of an evil action his father, Laius committed. Just as many African Americans feel they are at a disadvantage based on the color of their skin (Hill).

Another element that makes The Gospel at Colonus a brilliant analogy of the suffering and oppression of the black community is the fact that the preacher takes on two roles, being Oedipus and narrating the story. Hill states that this was a very African American church tradition stemming from a time where it was illegal for a black person to be literate (116). Preachers in African American churches had to memorize scripture because they were not allowed to have read it (116). The very idea that someone could be arrested for being able to read because of the color of their skin at birth is a very Oedipal condition. Oedipus felt he had no say in his supposed fate, refusing to accept any responsibility for his actions because they were decided before he had taken his first breath. In the same way, many minority groups feel they have no choice in the events that transpire in their lives because they are at a disadvantage societally. That is the beauty of the end of the show, which changes to allow Oedipus to not only die in a dignified fashion but also to be resurrected.

Program notes

First staged in 1983, The Gospel at Colonus is an exciting journey through both the Greek and black Pentecostal religious experienced. Author Lee Breuer takes Robert Fitzgerald’s wonderful translation of Sophocles’s work on an imaginative ride through the “concert-like” atmosphere he discovered was the style of Greek theatre. The combination of spoken and sung dialogue moves the story from the initial background introduction to the preacher taking “as [his] text this evening, the book of Oedipus” (4). He sums up what has occurred in Oedipus Rex and give the theme of the show: “Live where you can. Be happy as you can” (6).

Oedipus’s story is tragic. He was cursed before he was born, sentenced to die at birth, adopted without being told, received an oracle that he was slated to kill his father and marry with his mother, ran away to escape that prophecy, and wound up making it come true. Gospel picks up his tale after he spent decades wandering around after blinding and exiling himself. It is interesting to note that while the blindness and exile were his own doing, he seems to blame everyone around him for the loss. Gospel discusses whether, after all he has done and suffered at the hands of the gods, he can find peace in death.

When it hit Broadway, no one had seen anything like Breuer’s creation. It received multiple awards including an Obie for best musical in 1984 and a Pulitzer Prize nomination in 1985. While it seemed unusual to take a classic play and combine it with a church setting, Breuer was actually coming very close to the original intent of the piece (Biegler). Greek theatre was intended to be a spiritual event, and the music of The Gospel at Colonus brings that engaging element front and center for what might be the first time in 2,000 years.

Press release

Regent University Presents

Lee Breuer’s The Gospel at Colonus

Virginia Beach, VA – Regent University is pleased to present Lee Breuer’s The Gospel at Colonus. Director Scot Lahaie has captured the essence of what it means to face oppression and suffering and find redemption in this exciting modern adaption of the classic Greek tale of Oedipus.

“Live where you can. Be happy as you can.” So says Preacher Oedipus, the first of several title characters of The Gospel at Colonus which centers on the last hours of the former king’s life. After years of wandering in self-exile, the deposed king now finds no fault in his own behavior. Instead, he puts the full responsibility for his misfortunes at the feet of the gods who cursed him before he was even born. The Gospel at Colonus is a church service, set on a stage for the world to see, giving the audience a glimpse of what an emotional experience Greek theater was by bringing its elements into the modern era.

In today’s increasingly polarized world, people struggle to define responsibility and to lay the burdens for the bad things that happened on other’s shoulders. As the Jim Crow era dissolved, who was responsible for the centuries of oppression and suffering and whether that suffering continues today has taken center stage in social and political realms. Breuer’s The Gospel at Colonus resonates in today’s chaotic world because everyone can identify with the need to find forgiveness and hope at the end of the struggles they face in life. Each song brings hope in the same way a strong gospel hymn reaches into the soul and shines light on the sorrowful places.

The Gospel at Colonus by Lee Breuer opens Thursday, May 3, 2018 at 7:30 pm on the Tidewater Stage. It plays for two weeks with shows Thursday-Saturday at 7:30 pm. Tickets are $18.50 for adults and $16.50 for students and Seniors. Regent University students pay just $10. The box office is open from 1:00 -5:00 pm Monday through Friday at 757.352.4245 or at https://app.arts-people.com/index.php?ticketing=regva.

Glossary of Greek Drama

. Catharsis In literature and art, a purification of emotions. The Greek philosopher Aristotle (384-322 B.C.) used the term to describe the effect on the audience of a tragedy acted out on a theater stage. This effect consists in cleansing the audience of disturbing emotions, such as fear and pity, thereby releasing tension. This purgation occurs because of either of the following reactions: (1) Audience members resolve to avoid conflicts of the main character–for example, Oedipus in Oedipus Rex and Creon in Antigone–that arouse fear or pity or (2) audience members transfer their own pity and fear to the main character, thereby emptying themselves of these disquieting emotions. In either case, the audience members leave the theater as better persons intellectually, morally, or socially. They have either been cleansed of fear of pity or have vowed to avoid situations that arouse fear and pity. In modern usage, catharsis may refer to any experience, real or imagined, that purges a person of negative emotions. 

 Chorus Bystanders in a Greek play who present odes on the action. A parode (or parados) is a song sung by the chorus when it enters. A stasimon is a song sung during the play, between episodes of action. The chorus generally had the following roles in the plays of Sophocles and other Greek playwrights: (1) to explain the action, (2) to interpret the action in relation to the law of the state and the law of the Olympian gods, (3) to foreshadow the future, (4) to serve as an actor in the play,  (5) to sing and/or dance, and (6) to give the author's views. In some ways, the chorus is like the narrator of a modern film or like the background music accompanying the action of the film. In addition, it is like text on the film screen that provides background information or identifies the time and place of the action. On occasion, the chorus may address the audience, as in the revised version of The Clouds, by Aristophanes. 

orchestra: 'dancing floor';   the area in front of the skenê where the chorus danced and where, as a rule, it remained during the course of the play

parodos: [1] = eisodos;   [2] song sung by chorus as it first enters the orchestra

skenê: stage building (origin of our 'scene')

theatron: "theater;” more specifically: seating-area for the audience (our "auditorium")

Thespian - Noun meaning actor or actress; adjective referring to any person or thing pertaining to Greek drama or drama in general. The word is derived from Thespis, the name of a Greek of the 6th Century B.C. who was said to have been the first actor on the Greek stage.

Tragedy - Verse drama written in elevated language in which a noble protagonist falls to ruin during a struggle caused by a flaw (hamartia) in his character or an error in his rulings or judgments. Following are the characteristics of a Sophocles tragedy: (1) It is based on events that already took place and with which the audience is familiar. (2) The protagonist is a person of noble stature. (3) The protagonist has a weakness and, because of it, becomes isolated and suffers a downfall. (4) Because the protagonist's fall is not entirely his or her own fault, the audience may end up pitying him or her. (5) The fallen protagonist gains self-knowledge. He has a deeper insight into himself and understands his weakness. (6) The audience undergoes catharsis, a purging of emotions, after experiencing pity, fear, shock, and other strong feelings. The people go away feeling better. (7) The drama usually unfolds in one place in a short period of time, usually about a day.

Works Cited

Costa, Maddy. “The Gospel at Colonus | Edinburgh Theatre Review.” The Guardian, Guardian News and Media, 22 Aug. 2010, www.theguardian.com/culture/2010/aug/22/gospel-at-colonus-edinburgh-review.

Cummings, Mike. “Cummings Study Guide.” Sophocles Study Guide: the Theban Plays, 2009, www.cummingsstudyguides.net/Guides6/antigone.html.

Cummings, Michael J. “DRAFTING NEW THEATER ARCHITECTURES: Compiled by Samantha Rachel Rabetz.” Theater, vol. 26, no. 1 and 2, 1995, pp. 193–200., doi:10.1215/01610775-26-1_and_2-193.

Hill, Anthony D. "The Pulpit and Grease Paint: The Influence of Black Church Ritual on Black Theatre." Black American Literature Forum, vol. 25, no. 1, 1991, pp. 113. ProQuest, http://eres.regent.edu:2048/login?url=https://search-proquest-com.ezproxy.regent.edu/docview/209795139?accountid=13479.

Koger, Alicia Kae. "Dramaturgical Criticism: A Case Study of The Gospel at Colonus." Theatre Topics, vol. 7 no. 1, 1997, pp. 23-35. Project MUSE, doi:10.1353/tt.1997.0004

I love that this article capitalizes on the fact that theatre is a spiritual experience. The author quotes Wendy Smith as saying, “The more I understood Greek Theatre, the more I began to feel . . . that the important element in it . . . was its spirituality. I lived in Greece for a year, and it was hard to walk around those theatres, with the altar in the center of the stage, and not know that they were basically churches.” Another excellent feature is the inclusion of Google Scholar links for each of the sources used.

LeBlanc, John Randolph, and Carolyn M. Jones Medine. “Oedipus at Colonus and The Gospel at Colonus: African American Experience and the Classical Text.” SpringerLink, Palgrave Macmillan, New York, 1 Jan. 1970, link.springer.com/chapter/10.1057/9781137071514_7.

This article capitalizes on the idea of the comparison being made between Oedipus and the African American Pentecostal church experience. The emphasis on music, tempo, and connection to the Civil War are also apt.

Rabkin, Gerald. "Lee Breuer: On “The Gospel of Colonus.”" Performing Arts Journal, vol. 8 no. 1, 1984, pp. 48-51. Project MUSE, muse.jhu.edu/article/655108.

This is an excellent interview of the author on the meaning and intended use of his creation. He mentions the ideas that grew out of his experience of Kabuki theatre and the beauty of Cathartic theatre.

Sullivan, Dan. "STAGE REVIEW GREEK TRAGEDY, GOSPEL SINGING MIX IN `COLONUS'." Los Angeles Times (pre-1997 Fulltext), Dec 06, 1985, pp. 1. ProQuest, http://eres.regent.edu:2048/login?url=https://search-proquest-com.ezproxy.regent.edu/docview/292262119?accountid=13479.

“Role Sharing and Metatheater in the Oedipus at Colonus.” Role Sharing and Metatheater in the Oedipus at Colonus. https://camws.org/sites/default/files/meeting2015/Abstracts2015/390.metatheatre.pdf

“The+Gospel+at+Colonus+ Tony Awards Info - Browse by Show.” BroadwayWorld, www.broadwayworld.com/tonyawardsshowinfo.php?showname=The%2BGospel%2Bat%2BColonus%2B.https://openscholarship.wustl.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&article=1280&context=art_sci_etds

Oedipus and Antigone arrive at a shrine at Colonus.

The people (Chorus) freak out, and tell them to leave, but Oedipus demands to speak to Theseus.

Ismene arrives and tells Oedipus that his sons are fighting for control of the crown.

Creon arrives and demands that Oedipus come home to die (because a prophesy says where Oedipus is buried will be prosperous and invincible).

Oedipus refuses and Creon kidnaps the girls.

Theseus arrives and promises to fix everything and give Oedipus a dignified death and burial.

Polynices arrives and demands his father support his war with Eteocles. Oedipus tells him to get lost.

Theseus returns with the girls and Oedipus dies.