Sophocles’ Antigone, written in the 5th Century BCE is the final chapter of the Oedipus Trilogy. Our story starts in the city of Thebes. Didem Ruhi’s beautiful lamentation provides the perfect beginning to this tragic tale.
Oedipus’ sons, Polyneices and Eteocles, have killed each other in battle during a civil war fought over succession to Oedipus’ throne. Antigone and Ismene, sisters of the fallen soldiers, reside in the city of Thebes where their uncle, Creon, reigns as king by default. Polyneices attacked the city defended by Eteocles. Creon decrees that Polyneices proved himself a traitor, an enemy of the crown, and vows that Polyneices shall remain unburied, to be devoured by dogs and vultures. He warns the citizens that anyone disobeying his command will be punished.
Antigone mourns the loss of her brother and determines to give Polyneices the burial he deserves. Her sister, Ismene, warns her of the price she will pay for disobeying the crown. Thereby hangs a tale…
Antigone, portrayed by Elaine Werren, is a strong-willed woman determined to stand up to the demands of her uncle. More than once women are referred to as “mere women” whose words are to be dismissed. Antigone refuses to back down from the misogyny of men in power and buries her brother, punishment be damned.
What a marvelous production. Director Lauren Wilson has done an excellent job of emphasizing the feminism inherent in the script. As we all know, the themes explored by the ancient Greek philosophers and playwrights still ring true today (more’s the pity). Wilson brought together a good, strong cast and crew to tell this story. Werren is a strong, unbending Antigone, willing to pay the price of her defiance. Kyleigh McComish’s Ismene is a hesitant heroine at first, begging her sister not to rebel against Uncle Creon then growing sympathetic to Antigone’s decision. Olan Domer gave a strong portrayal of Teresias, the blind seer. His impassioned warning to Creon of the price he will pay should he execute Antigone was one of the most moving scenes of the evening. (His costume and makeup were outstanding).
There is not a weak link to be seen in the cast. Dominic DeLong-Rodgers’ Creon is unbending and unforgiving in his power. He is a commanding presence. The chorus was beautifully choreographed, using their voices and movement to drive the action of the play. Haemon, Creon’s only surviving son and fiancé, is played by Carlos Turner. He brings a rationality and composure to the story and is put in the position of having to choose between loyalty to his father or loyalty to Antigone. He implores his father to listen to the wisdom of others, to no avail. Mel Driggers’ sentry is fearful of Creon yet sympathetic to Antigone; Driggers does a great job of portraying the tug-of-war between these two emotions.
The set is absolutely beautiful. Andy Mills’ scenic design combined with Jim Hunter’s lighting design and Danielle Wilson’s sound design come together to create what to me is the perfect setting. Kristy Hall’s costumes are timeless. My only quibble with this production is with the costuming. The costumes are timeless, however, when Creon enters in his uniform, barefoot as is the rest of the cast, it looks as if he heard his cue and dashed onstage without putting his shoes on. And that’s the extent of “things I didn’t like about this show.”
Antigone runs October 9 – 11 at 7:30 pm, and October 12 at 3:00 p.m. and 7:30 p.m. at Longstreet Theatre. The show runs a bit less than 90 minutes without intermission. Tickets range from $15.00 to $22.00. It’s worth every cent. Parking is at a premium, as usual. There is parking beside Drayton Hall; some street parking is available along Greene St.