As the play begins, there is the sound of a storm, and Antigone enters, wearing jeans and a hooded sweatshirt, the hood up, perhaps as much for secrecy as a brace against the elements. She exits almost as quickly, and so there is a sense of intrigue, a sense of urgency. The two sentries, dressed in army fatigues, then enter, and soon speak directly to the audience, acting as a sort of Chorus, providing some of the backstory. Later they provide some comic relief, as they engage in a game of Rock Paper Scissors to determine who will deliver some bad news to Kleon. John Apicella is particularly funny as he nervously stands before Kleon, having lost the game.
Because of Tony Amendola's tremendous performance, and because of the expanded role of Eurydike, who tempers her husband somewhat, we see Kleon in a different light in his first moments. We even feel for him, as someone who suddenly finds himself in a position of great power and wants to guide his country away from further chaos with a steady and strong hand. We learn that it was his idea that Antigones' brothers engage in a fight, and that he was surprised they accepted the idea. It's a small detail, perhaps, but it tells us that maybe he isn't as sure of himself as he'd like others to believe. And we see him as a politician, when, before his big speech to the populace, he shakes hands with several folks in the audience. When he delivers his speech, it is Antigone and Ismene who are in the audience, and so they become our voice, our conscience. And when Kleon tells us not to be afraid to report any threat to security, we can't help but think of our own society, and the way that notion has been pressed into our heads, from the seemingly benign, even helpful, "If you see something, say something" slogan, to people reporting possible immigrants out to the evil organization ICE. This speech establishes Kleon as the state, and Antigone and Ismene as citizens with different ways of responding to the abuses of that state.
Antigone is determined, against the decree of Kleon, to give her brother a proper burial, knowing it is the right thing to do. Ismene, her sister, discourages her, out of fear, from breaking the law, though she too acknowledges it is the right thing to do. This scene makes those in the audience turn inward and consider what they would do in such circumstances. Both Linda Park and Mildred Marie Langford are excellent here. Antigone takes her sister's hand when she encourages her to help, then lets go of her hand on "a disgrace to our whole family." And though each chooses a differection course of action (or inaction, as the case may be), the two still love each other, as is apparent later. This story is, in part, about familial obligations versus loyalty to the government.
The main piece of set dressing in this production is Kleon's desk, positioned stage right. On one side of the desk is his large desk chair, on the other side is a less comfortable-looking wooden chair. So it is clear how his position of authority is reflected in that. His son Haimon is discovered by Eurydike seated on Cleon's chair. Peter Mendoza (who did a wonderful job as Posthumus in last year's Cymbeline) delivers another strong performance here as Haimon, who, in addition to being son to Kleon, is betrothed to Antigone. It is clear how torn he is, feeling an obligation to his father and love for Antigone. Eurydike quickly sits Haimon down on the wooden chair and tries to school him on love. Kleon soon sits the Sentry on that same chair before questioning and threatening him.
As I mentioned, the part of Eurydike is expanded in this adaptation. In the original text, she appears only briefly near the end. But here she has a central role. She's played by Ann Noble, who was stunning as Richard III in the recent production of Shakespeare's play at A Noise Within, and also fantastic as Kate in last year's Corktown '39 at Rogue Machine. Here she is equally captivating. While the role Eurydike must play in society is the woman behind the man, she soon proves herself perhaps the more adept politician, offering her husband a solution that will allow him to do the right thing while also keeping his reputation secure. She speaks of bringing the country together, something that, coming from our own current situation, strikes us as nearly impossible, and so we don't hold out much hope. Of all the characters, Eurydike is the one who seems most adept at grasping the tenuousness of the situation. In a scene in which Kleon irrationally fears the return of Oedipus to seize power, Eurydike calms and comforts him, and we know that she shares the weight that is upon her husband, though is not offically in a position to do anything about it. And speaking of power, it is interesting that when Antigone has been arrested, she, even seated, seems to be the one in more control when speaking to Kleon. And that is because of her disposition, of the way she controls her voice. Kleon somehow has more fear than she does.
The only character that seems perhaps a little out of place in a modern setting is Teiresias, the prophet who offers predictions without any fear of official reprisal, a prophet implicitly trusted by Eurydike. The character seems to come from another time, though Kaci Hamilton is completely mesmerizing in the role, dressed in a purple robe, with face covered. There is even a lighting change for the character's entrance, the stage bathed in reds. Though I have to admit that while I and most of the people I know are more skeptical, there are, even today, many people who believe in prophets, in prophecies. So maybe this character is not so distant from us after all.
There is a moment toward the end when Haimon enters wearing a hooded sweatshirt, with the hood up, just as Antigone did in the play's opening moments. And he exits just as quickly. It's a nice touch further showing the connection between those two characters. Another of the production's most striking moments is when Antigone enters the cave that will be her place of punishment, of imprisonment. What little light she has suddenly is gone, and we in the audience are also cast into darkness with her. So we suffer the same fear. Her breath is ours. It's an incredibly powerful and jarring moment. And the production's climax is especially poignant and powerful. It is, after all, a Greek tragedy. It's an excellent adaptation, performed by an absolutely brilliant cast, with something to say about the current world.
This production of Antigone runs through June 15, 2026. Visit the theatre's website for the complete schedule. There is no intermission. Antaeus Theatre Company performs at Kiki & David Gindler Performing Arts Center, at 110 East Broadway in Glendale, California.
No comments:
Post a Comment