Antigone

The Arts, Etc.

The Drama Studio

proudly presents


	t

Sophocles'

Antigone

Adapted and Directed
by Dan Morbyrne

October 2010

22, 23, 34 & 29, 30, 31

FOR TIMES, SEE BELOW

CLASSIC CIVIL DISOBEDIENCE

Reviewed by Donna Bailey-Thompson

Approximately 1,570 years ago, when Sophocles was 55, he wrote Antigone. Now The Drama Studio takes its turn to bring this Greek tragedy to life and in the process gain more experience as actors. Their well-honed performance demonstrates their respect for theater: these are not kids goofing off but young people learning a craft that when practiced correctly is fun, gives them pride and audiences enjoyment.

An 18-member Greek Chorus tells the back story: Thebes’ civil war, brothers Eteocles and Polyneices fighting on opposite sides, kill each other in a duel. King Kreon declares Eteocles (who defended Thebes) worthy of a hero’s burial but Polyneices (who attacked Thebes) deserves a traitor’s fate – no burial rites; his body is to rot where he died. Their sister, Antigone, who values family ties and rituals above politics, is determined to bury Polyneices in spite of King Kreon’s decree that anyone who buries Polyneices will be put to death.

As Antigone, Lucy Gouvin embraces Antigone’s obsession to defy the King’s edict. Although she professes to love the king’s son, Haemon, her civil disobedience changes her from a romantic girl to a hardened, defiant rebel. In contrast, her sister Ismene (softly feminine Adair Robinson), who pleads with Antigone not to defy the king, confesses that she is a coward. She is also pragmatic because she knows Antigone’s action will end in tragedy.

Suddenly, a guard bursts onto the stage, heading directly to the throne to tell the king that someone has tried to bury Polyneices. Just as abruptly, the stately language is studded with the vernacular. As the guard, Rachel Gallagher is over-the-top – sweeping gestures, mugging – not breaking character but enlarging it considerably.

Mat Buessler’s King Kreon is confident until he learns that it is Antigone who has broken his law. He wants to spare her but when that becomes impossible, his regal stature is compromised. He consoles himself by confirming his son Haemon’s loyalty. However, Haemon (the multi-talented Seth Olsen) speaks truth to power, and the play’s strongest moments are unleashed. “Please, father... swallow your pride and anger! Allow yourself to change!” At the play’s end, a broken King Kreon laments, “Everything I have touched, I have destroyed.”

Two Messengers enter wearing knee-length black A-line dresses, Chloe Connolly (age 9) and Lalia Hays-Rivest (age 10). In sharp contrast to the play’s violence, they exude a heart-touching innocence. The words they recite serve as a benediction.

Kudos to Dan Morbyrne for his adaptation and sharp direction, and to the Greek Chorus which has more lines than any of the principles which they deliver while perched within rope rigging or sprawled at the throne or in a loft, and other innovative spots. Their delivery is intense, well-delineated. They are Julia Adamo, Beki Berliner, Jessie Berliner, Sara Berliner, Kathleen Burke, Abby Dias, Tristan Donahue, Eve-Quenby Johnson, Christina Kapinos, Natalia Kuzmicki, Taylor Middleton, Vicky Montagna, Phoebe Olin, Peter Paleologopoulos, Brigid Sawyer, Mercy Togba, Austin Yelinek, Stefanie Zitka.

The Drama Studio’s Antigone is quality theater.

Performances of Antigone are:

Fridays October 22 and 29 at 7:30PM
Saturdays October 23 and 30 at 7:30PM
and Sundays October 24th at 6:30PM and
October 31 at 3PM.

A talk-back session with the director, cast and audience
will follow the Sunday October 31 performance.

Tickets are $10 for students and $15 for adults.

Tickets are selling out! Each performance has only 63 seats!

Reserve your tickets by calling 413-739-1983.

____________________________________________________

ANTIGONE

by Sophocles

Reviewed by B. K. Grant

Compassion. Power. Tragedy. True love. These human conditions are strongly portrayed in Dan Morbyrne’s adaptation of Antigone. His great directing of this Greek tale by Sophocles molded the cast of over two dozen young people into a diverse yet compatible troupe, convincingly portraying their individual characters to project the messages in the play

Act 1 opens with the chorus’ narration of the history of lineage and deception which led to the terrible war in Thebes, resulting in the loss of two brothers who unfortunately were on opposite sides of the conflict. A decree is posted stating the defending warrior will receive a hero’s honors and burial while the invading sibling will be left to rot where he fell; any attempt to bury him will result in the death of the doer. Antigone and Ismene (played superbly by Lucy Gouvin and Adaire Robinson, respectively) are distraught over the death of their brothers and nearly hysterical over the decree’s message. Antigone feels strongly that their brother should be buried while Ismene fears for their lives should steps be taken in that direction. “I am an awful coward” she admits to Antigone, who, having made her decision, tears the decree in half as she exits.

Thanks to costumer Greta Breglio-Redman, the entire cast is clothed in a collection of modern-day attire, leading the viewers to subconsciously draw parallels between the leadership then and now. Musical director Taylor Middleton (chorus and recently ‘Stone Lion’) and stage manager Bari Blumberg did an outstanding job performing their theatrical duties.

The unique set designed by Craig Milne resembles a ship’s rigging, illustrating the metaphor of the king’s mission to save the kingdom, likening it to an old sinking ship, full of cracks and leaks. Mat Bussler brings a wealth of ‘regal’ experience to his compelling portrayal of King Kreon, who although self-righteous, is attempting to perform his kingly duties properly. His subjects revere him and support his decreed decision.

Betrothed to the king’s son Haemon, intensely played by Seth Olsen, Antigone is torn between her love for him and her commitment to her dead brother. Their love for each other is evident as she painfully but firmly tries to end their engagement, pleading with Haemon to accept her decision without question or argument.

In comes the guard – a little person with a huge presence: “Where is King Kreon? Where IS he? I missed him? Oh, #*#*!” And her big eyes pop as she covers her mouth apologetically. Rachel Gallagher lightens the mood, nailing her role to the complete delight of the audience

.

In Act II, Haemon’s questioning of his father’s authority and judgment is taken by the king as youthful naiveté of a king’s position. But Haemon is wise beyond his years: “The gift of reason was given to us by the gods; but are we using it right?” The conversation becomes edgy and Haemon voices his doubts about his father’s ability to rule. He declares he will not live without Antigone and vows this is the last time his father will set eyes upon him. King Kreon struggles with his decree and eventually comes to the conclusion that he did make the wrong decision. Alas, too late; messengers (nicely played by Chloe Connolly and Lalia Hays-Rivest) arrive bringing horrible news from the ‘bridle burial chamber’.

This reviewer came away amazed at not only the talent in this cast, but the conviction which each member brought to their respective roles. Powerful performances all. Bravo !

ART