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Antigone
a Drama
CATEGORY : DRAMA
by Sophocles, translated by Owen McCafferty

COMPANY : Impulse Repertory Co. [WEBSITE]
VENUE : Brady Street Theater [WEBSITE]
ID# 5113

SHOWING : August 10, 2017 - August 19, 2017

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PRODUCTION DESCRIPTION

The war has ended, but with peace comes conflict. Antigone’s brother Polyneices lies on the battlefield where he fell, his burial outlawed by Creon, the new king of Thebes. Should Antigone obey Creon, or must she follow her conscience and lay her beloved brother to rest?


CAST & CREW LIST
Teiresias Jason Louder
Antigone Jessica McGuire
Guard Jacob McKee
Chorus Marcie Millard
Eurydice Mary Saville
Haemon Markell Williams
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REVIEWS

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Gone
by playgoer
Thursday, August 17, 2017
4.0
A spare set (Jamie Bullins, consultant), consisting of a sculptural assemblage of chairs and benches just stage left of center and a few chairs up right. On the stage floor, an abstract red blotch resembling a spreading pool of blood. Vaguely militaristic, layered costumes (by Clint Horne) with a consistent design aesthetic. A brooding, ever-present soundscape by Dolph Amick. Dim lighting (by Damien Zane Helms) that brightens into spots where activity is expected to take place. All hallmarks of a production that places an emphasis on atmosphere.

Owen McCafferty’s translation of Sophocles’ "Antigone" is on the foul-mouthed side, perhaps unnecessarily so. It is well-spoken by the cast, with only Renee Skibinski’s Messenger failing to project adequately in spots. The somber tone is leavened by the performance of Jacob McKee as a comic soldier, although he seems to have little in the way of natural comedic rhythms. Marcie Millard, on the other hand, is a superb comedic actor, but here subsumes her comedic gifts to the overall tone that director Kara Cantrell has established. The young lovers Antigone (Jessica McGuire) and Haemon W. Williams) come across as strong and sincere and committed, and the King Creon of Robert Bryan Davis marries equal commitment with the power-mad intensity of a dictator.

The other roles are filled capably, although a number of the cast are given little to do. Mary Saville, a presence onstage throughout as Eurydice, knits silently away in a chair upstage facing away from the audience until nearly the end of the play, when she speaks movingly. Jason Louder’s Teiresias has just one scene, which he plays with subtle power. Others remain silent throughout.

Ms. Cantrell has succeeded in creating a production in which an overall atmosphere permeates the proceedings. The lighting doesn’t always mesh with actors’ positions onstage and sometimes makes obtrusive transitions, but it aids in establishing atmosphere. Only a couple of moments aren’t as effective as they might be: Mr. Davis’s last scene doesn’t show Creon’s voice patterns changing to show the effect of his son’s death, and the final "body" dragged to the stage by Ms. Millard seems to be missing limbs, which draws focus away from the tragedy of the final moments. But the power of Sophocles’ play comes through strong and clear. [POST A COMMENT REGARDING THIS REVIEW]


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