Edward Alderton Theatre took on a huge challenge when bringing Oedipus the King to the Bexleyheath stage. Sadly, its impressive set and staging can’t hide fluffed lines and performances, writes Andrew Hodgson

The Edward Alderton Theatre production of Sophocles’ Oedipus picks up the story from his ascension to the throne.

He lives with his beautiful wife Jocasta and children and is happy. What he does not realise is the tragic truth tainting all that is his.

His world comes crashing down as he learns of the horrors which bore him to this point. The facts trickle agonisingly from the lips of those who know shards of this truly ignorantly sinful existence.

He has killed his father and taken his throne; he has married the man’s wife, who is his mother, and bred four children by her in the same bed which he himself was created in, of this same woman.

News Shopper: Theatre review: Oedipus the King, Edward Alderton Theatre, Bexleyheath **

Oedipus enters kitted out in yacht attire. The chorus wear all black with lace white ruffs, the messenger wears a full tuxedo and Jocasta wears an oddly Grecian toga which jars with the rest of the cast, yet fits within the impressive set which is ornate and extravagant. Naturalist in approach, it is all red curtains and marble plinths, dominated by a table centre stage, the smell of incense is thick in the air.

Two guards wear strange bellboy-red waistcoats and seem to not really know why they are there.

After being met with such impressive set design it is extremely disappointing to be met with such slack acting.

Not a single cast member could remember their lines; instead of the words of Creon, I overheard backstage “He’s bodged it again.”

Steve Padgham as Oedipus spluttered his lines like Bogart after a few too many espressos, although I did enjoy the scene in which he blinds himself.

News Shopper: Theatre review: Oedipus the King, Edward Alderton Theatre, Bexleyheath **

Reminiscent of some horror B-movie, as the lighting flashes of crimson and a backing track of 1980s electro-organs play him in, he screams and blood splatters. It was as if Bella Lugosi had made an appearance. The play closes with the entrance of what seem to be diseased villagers, however after earlier demonstrations of horror, their shadow-skulking is reminiscent more of zombies.

Although understandably a small-time production - albeit with an incredibly impressive set design - I attended five days into its run and the cast still didn’t know their lines.

If the old half cripple with the one line, the five word catalyst - his sole reason to be on stage - doesn’t know his role by then, then heavens knows what preparations had been made for this challenging rendition.

The next production at the Edward Alderton Theatre will be David Mamet's Glengarry Glen Ross May 9 to May 16.