Reviewing Theatre For Over 40 Years
Pared Down, Powered Up: “Antigone” at ANW
In an art form where longevity can be used by some to indicate intrinsic value, at least in the form of universality, none achieve this at a higher level than the plays of the Ancient Greeks. Certainly,Sophocles’ Oedipus trilogy has played upon the imagination of human societies far beyond the original parameters of the people for whom it was written. Usually, one discusses the angst, tragic flaws and fate of “Oedipus the King,” but in modern times – as in the time when Jean Anouilh first translated and adapted it – the greatest focus should be the ethical and moral dilemmas at the heart of the second play, “Antigone.”
Now in a new translation and further adaptation of the Anouilh version by director Robertson Dean, A Noise Within’s “Antigone” proves an admittedly truncated, elemental edition. Narrowed down to its essentials, the grand Greek speeches reworked to resonate with a modern audience, the power of the essential struggles of its protagonists leaps out in a way which makes ancient struggles modern.
The tale remains essentially the same, though – like Anouilh’s version – it is placed in an era reminiscent of the late 1930s (Anouilh was actually writing his version as the Germans entered Paris). Oedipus is gone, his sons have fought to the death over who should run Thebes. Oedipus’ brother-in-law Creon backed one of the brothers, Eteocles, over the rebellious Polynices, and as a result has taken over as king after both brothers die in battle. To declare the rebellion dead, he has decreed that nobody shall bury Polynices’ body so that it may rot in public as a warning to all further rebels. Should anyone bury the body, that person shall be condemned to death.
Which leaves their sister, Antigone, with an agonizing ethical choice. If she buries the body of her brother, she shall die. If she she leaves it there to disintegrate she shall have allowed something immoral to happen that she could have stopped. Which is more important, her life or her conscience. For Antigone this is no choice at all, but to those around her more versed in political expediency, the choices she wants to make are either idiotic or tragically pointless. Yet, she knows what she believes is the right thing to do.
This production jumps to vivid life due largely to Emily James’ impressively, passionately intense Antigone. Small, and physically fragile, James’ heroine is vibrantly resolute – absolutely positive she is taking the only action possible, and yet equally sure it is an action which should harm no other. Riveting from start to end, she is impossible not to watch.
Eric Curtis Johnson makes Creon the consummate politician, even in exhaustion seeing life as a negotiation and honor as relative, at least until it hits too close to home. Brick Patrick moves Creon’s son, Antigone’s fiancé, from a casual nobility to a resolute passion as his world increasingly wraps around the fate of his intended. Inger Tudor makes the chorus – a character Dean has given a much larger roll, in that she speaks the words of several characters other than her own – the voice of reason as she sets and expands the tale beyond the intimate palace space.
Smaller parts are also impressively done. Lorna Raver fusses well as the shaken nurse. As Antigone’s more elegant sister Ismene, Kyla Garcia becomes a balance to the title character’s determined single-mindedness, as she ranges from fear to compromise with little effect on the outcome. Stephen Weingartner plays the parts once handed to three separate guards – the realist of the piece – whose focus is not on the reason for war or the ethics of Antigone’s actions, but on how it will affect his future in his chosen occupation.
All of this plays against Frederica Nascimento’s junk pile of a set, complete with a radio whose blasts of Edith Piaf set the scene as much as the column bases and collapsed chandeliers. Jenny Foldenauer’s costuming captures a time period without being too specific, and Martin Carrillo’s sound design keeps the audience circled with the continuing danger outside the door.
This “Antigone” has been pared down enough to be performed without an intermission, and that works too as the tension builds toward the known but still agonizing end. As director, Dean keeps the thing moving, literally, which is terribly important in a play which is mostly about fine, direct, but potentially static talk. As a result, one seems to barely breathe from start to finish – a most satisfying way to see a great and ancient work made new.
“Antigone” plays in repertory with “A Flea in Her Ear” and the upcoming “All My Sons.”
What: “Antigone” When: Through November 20, 7 p.m. October 4, and November 8, 7:30 p.m. October 29 and November 19, 8 p.m. October 24, November 14 and 20, 2:00 p.m. October 4, 24, November 8 and 14 Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: $44 and up, with student rush with ID an hour before performance Info: (626) 356-3100, ext. 1 or http://www.anoisewithin.org