It has all the makings of a modern drama and retains the integrity of a classic Greek tragedy. One would not know where to begin in complimenting the American Repertory Theater’s production of Sophocles’ tragedy “Antigone,” translated by Robert Fagles. It is an intense, innovative and visually striking production, with death and family dysfunction galore.
When Antigone’s brother, Polynices, does not receive a proper burial, Antigone resolves to give him one out of love and respect. By committing this act, she breaks the law of the state, challenges the authority of King Creon of Thebes and puts herself in a great deal of danger. The enraged Antigone claims she is obeying the will of the Gods by burying her brother, and in the process, she asserts her power as an individual as well as her commitment to her brother.
She readily accepts the consequences of her deed and admits to her crime with openness and pride. Antigone welcomes the prospect of her death and eventually commits suicide. In the course of the play, other citizens of Thebes are inspired to revolt against Creon. In the end, he loses not only his power, but his family as well.
Director Francois Rochaix crafted a brilliant production of the classic Greek tragedy. He combines classical and modern elements in order to produce a flawless otherworldly experience. Members of the Chorus first appear in the traditional masks of Greek theater and on stilts covered by their clothing. They later remove both objects. All costumes in the play are not period specific. The play indeed has a timeless feel to it.
The ART cast is remarkable. Aysan Celik gives a potent performance as the grieving and heated Antigone. In the role of Creon, John Douglas Thompson is moving and exhibits an extremely powerful presence on stage. Rachel Warren is strong in the role of Ismene, and Jodi Lin gives a haunting performance of the disturbed seemingly liquid wife of Creon, Eurydice.
The moments of “Antigone” in which the Chorus participates are to be looked forward to. By combining music, verse and movement, the Chorus awakens the senses of the audience and draws it into the moral conflict of the play on an intense level. The set is somewhat stark, but turns into an oasis of visual imagery at unexpected times during the play. Verses from Sophocles’ work and other images are projected on the walls. Props are sparse. The lighting is also very effective, and notably contributes to the emotional dynamics of the piece.
However, Rochaix makes the play a one-of-a-kind dive into the conflict between the law and the conscience of the individual, and the fervent emotions and motivations of humankind.
This is an account occasionally used by the Daily Free Press editors to post archived posts from previous iterations of the site or otherwise for special circumstance publications. See authorship info on the byline at the top of the page.
