After their triumphant staging of Macbeth in 2023, goblins Wug, Kragva, and Moog return to Bard on the Beach this summer with a rousing interpretation of Sophocles’ Oedipus the King.
For anyone unfamiliar with Greek mythology, Oedipus the King tells the story of the doomed ruler of Thebes who spends his life trying to outrun a prophecy that he will kill his father and marry his mother—only to discover he has fulfilled it all along. It is one of Western theatre’s darkest tragedies, but these roguish goblins—who are quick to remind audiences of Tolkien’s prejudice against their kind—transform the story into an evening that is ridiculously funny, surprisingly educational, and, at times, genuinely moving.
The fun begins before you even take your seat. The goblins wander through the crowd carrying a giant phallus (it is Greek theatre, after all), chatting with guests and posing for selfies. Once inside the Douglas Campbell Theatre, their uncanny masks, physicality, and unmistakable voices are so convincing that you quickly forget you’re watching actors and simply accept that three goblins have hijacked Bard on the Beach to stage Sophocles.
They arrive armed with their trademark cheek, colourful language, and wonderfully inappropriate observations. Kragva is particularly disappointed to discover that, unlike the traditional Dionysian festivals, public orgies are no longer considered an acceptable part of the theatrical experience.
The trio is superb. Wug, the group’s obvious leader, brings surprising depth to Oedipus, balancing broad comedy with touches of genuine desperation. Kragva steals nearly every scene, effortlessly bouncing between multiple roles with razor-sharp comic timing, while Moog’s live musical accompaniment adds another delightful layer to the performance. Still slightly miffed that the company chose Greek tragedy instead of the Christmas story he had hoped to perform, he can’t resist slipping a few familiar holiday tunes into the score—or breaking into a smoky jazz riff when he decides the play has become a murder mystery! Meanwhile, audience members recruited as the chorus prove an effective running gag, repeating a repertoire of synchronized actions and responses with increasing confidence.
What impressed me most was how respectful the production remains of Sophocles’ original work. Rather than spoofing the play, the goblins invite the audience into it, weaving lessons on the origins of Greek theatre, the purpose of the chorus, and the conventions of tragedy into the comedy so seamlessly that you hardly realize you’re getting a history lesson.
Seriously, who knew a story built on prophecy, patricide, and incest could be this much fun? Goblin: Oedipus blends improv, history, and classical tragedy into something original, laugh-out-loud funny, and wildly entertaining. Beneath all the impudence and debauchery lies a genuine enthusiasm for Greek theatre that proves utterly infectious, making this one of the most inventive productions of Bard on the Beach’s current season.
Goblin: Oedipus runs from July 5 to September 19 in the Douglas Campbell theatre as part of Bard on the Beach.