New plays are an odd beast...

I recently opened a new play called Oedipus el Rey. The story is Oedipus Rex, transposed onto California Latino gang culture. I've been living with this play for weeks. I read an early draft, thought it a rough read, and slowly as we got to opening I've seen it become a solid show worth seeing. The performers are engaging, the prose is musical and the staging is dynamic. The problem I have with it is that sometimes the transposition is too literal for the action to be fully believable in a modern context. On the one hand if you're calling your play "Oedipus" you had better have the story intact. What exactly is Oedipus king of? The ghetto? The crime business? It's not clear... and finally (spoiler here) when Oedipus puts his eyes out (I will refrain from telling you how it is accomplished in this production via blog post in case any of my five readers wants to see the show) I don't think the motivation is sufficient in the modern context. Perhaps it's a moment of weakness in the play or staging that could be fixed... but the whole end makes me think that this play would be better if we weren't so bound to the Oedipus tie-in.

There are three simple but important things you need for any play. You need a performer, content(like a story, music, action, dance...) and an audience. If you lack one of these three elements you have nothing. Usually additional elements are nice (like costumes, lights, sets, atmosphere...) but you can do a show without them.
This play retells a familiar story so that the audience knows what to expect, they come in knowing 20% of the play. The journey is in the story telling. The audience enters with a fore-knowledge of the timeless issues brought up in Sophocles' Oedipus (human kind's destiny and effort to control it, violence...) hopefully they also latch onto the modern issues it brings up as well (like California's recidivism problem or modernity versus tradition). The trouble is trying to make a modern play equally effective as a classic. Is it possible the play could be stronger without the old Oedipus infrastructure? If so, who would come to see it?
The problem may be that 'Oedipus Rex' is a play over 1500 years old and our little show is less than a few years (If we count all the time it stewed in the playwright's brain). The baby play needs some maturing, but at the same time it's important to get people to come out and interact with it for that to happen.
It is an old problem. Shakespeare and Mozart stole almost every plot they ever wrote a play/opera on top of... it is a brave old tradition to get butts in seats. There is nothing new. Not really.