How much capacity should we have to say no? When is it acceptable to choose what one feels is morally correct over the laws of state and country? Is there a higher law than that set by our lawmakers? All of these questions, and more, are examined in Anna Jajjah’s reworked version of Antigone.
Based on the work by Sophocles, Antigone tells the story of a defiant 20 year old woman intent on risking the wrath of King Creon so that she may bury her brother, Polyneices. Although hardly touched upon in this version, Antigone is the daughter of the former king Oedipus and his mother. She comes under the care of her uncle Creon following an uprising by her brothers Polyneices and Eteocles, in which both are killed.
As a warning to the people of Thebes, Creon decrees that Polyneices’ body should be left out to rot in the sun so that, according to their religious beliefs, his spirit would be forced to roam in a type of purgatory for eternity. The body is guarded by three hapless guards; the penalty for interfering with it is death. Determined to bury her brother and fulfil her family duty, Antigone resigns herself to execution by Creon and breaks past the guards to cover Polyneices with soil. From there, she is caught and much of the play consists of her conversations with Creon, as both fail to convince the other of their argument.
This is a well developed, enjoyable piece, despite often feeling a little less polished than some. While Neil Modra’s Creon starts almost as a soap-opera type father, he grows into the role and exposes the perceived tyrant’s human qualities. Ellen Williams is excellent as the stubborn Antigone, as is Philippe Klaus as her fiancee Haemon. The set up of the PACT space allows us to feel as if we are watching an ancient trial, and Gerry Sont’s work in set construction should be applauded. Addition of a sound designer would have been an asset, while better lighting to highlight Rosyln Blake’s constantly knitting Queen Eurydice would have meant she was elevated to more than a mere statistic at the end. It’s also easy to forget that Haemon is Creon’s son, as his role in the original play is reduced to a quick confrontation here.
In exploring the pivotal argument of state versus conscience by focussing on the conversation between Antigone and Creon, Anna Jahjah’s play allows us to examine the central characters and their motivations, while questioning their place in modern society.
Rating: 3 out of 5 stars
Antigone
Presented by Théâtre Excentrique
Written by Jean Anouith
Director: Anna Jahjah
Lighting Designer: Larry Kelly
Lighting Operator: Blake Feltis
Set Construction: Gerry Scott
Costume Designer: Yvonne Hocothee
Graphic Designer: Nadja Raskovaloff
With Roslyn Blake, Kate Fraser, Kirsty Jordan, Aurora Kinsella, Karl Kinsella, Philippe Klaus, Neil Modra, Gerry Sont, Ellen Williams and and Blacktown Girls High School as the French-speaking Greek Chorus
PACT centre for emerging artists, Erskineville
www.theatrexcentrique.com
23 April – 2 May 2015
