Antigone

Queensland Theatre has a hit on its hands with the breathtakingly tragic Antigone. It’s a thing of sheer beauty when every craft comes together to give a peak performance. This production proffers excellent acting, visually stunning design, outstanding sound and beautiful lighting. Director Travis Dowling should be applauded for nurturing such exceptional talents to deliver work of this standard.

The story, for those who wagged high school drama class, is of a city that’s recently been under siege. At the heart of the battleground lie two brothers, Polynices and Eteocles, both slain. Eteocles body is returned to the city and given a hero’s funeral. Polynices’ rotting corpse is placed on display as a warning to those who seek to question the authoritarian rule of the freshly minted leader Creon. One sister of the slain men, Antigone, is morally motivated to give her maligned brother a fitting burial, yet Creon has ruled that no one should touch or move the body. Against her sister Ismene’s pleas, Antigone buries her brother in an act of defiant civil disobedience. Creon feels the only choice is to punish Antigone. Even when the will of the people turns against the ruler and Creon’s son Haemon tries to urge compassion Creon fails to budge. Tragedy ensues, ancient Greek style.

The solid foundation on which this excellent show is built is the clever adaptation. One can’t thank Merlynn Tong enough for dusting off this ancient tale and making it so relevant for a modern audience. Having found other productions to be hours of unrelenting, wordy histrionics, this adaptation feels fresh. It’s feminist, rebellious and poetic. Merlynn has kept the meat of the story, cut the fat, dialled up the encroaching fascism and horror and moulded Creon and Antigone into fierce, bold and flawed women.

Both script and execution present whole, three dimensional characters. It doesn’t seek to demonise any one for their actions. Instead it asks the big questions Sophicles wanted us to ponder: what happens when humans make laws that go against the will of the Gods? Should leaders take more advice? Should they put their pride, personal opinion and ambition aside and bend to the will of the people? Should some laws be broken? If immoral leaders are in charge, is the only moral path to defy the law?

Jessica Tovey as Antigone is powerful, focussed and committed. Her rage against the authoritarian rule is wonderfully controlled both physically and vocally. Antigone’s sister Ismene is played with heart and earnest conviction by Shubshri Kandiah. No stranger to musical theatre, Shubshri also fulfils role of chorus, singing beautifully and with amazing power and breath control. Kevin Spink delights in his role of Creon’s beloved son and Antigone’s devoted fiancé, Haemon. Kevin’s excellent diction and physical discipline show you Haemon’s a soldier and a perfectionist. Oracle Tiresias is played by Penny Everingham with great wisdom and gravitas. Christen O’Leary is captivating as Creon. You can’t take your eyes off her as the charismatic Queen of Thebes. Christen has a gorgeous voice, enviable emotional range and is clearly relishing her role.

Composer and sound designer Tony Brumpton builds a great atmosphere. The little touches like the echo when Creon is addressing the masses and when Antigone is in a tomb are the sorts of things that enhance your immersion. Heightening the immersion, Ben Hughes has the show perfectly lit. Colour and intensity matches the time of day and the transition from day to night so realistic you forget you’re in a theatre. Ben also captures the mood, making Creon glow magically when she’s at her most powerful, terrifying you with the shadow of a swinging corpse when Antigone hangs herself.

Speaking of the horrific, the special effects of Polynices’ corpse and the blood literally dripping down the walls of the city of Thebes as the Gods are displeased is sheer perfection for a show that celebrated its opening night on Halloween. Vilma Mattila’s design gives several nods to the ancient Greeks, yet it feels somehow timeless. Nathalie Ryner as costume consultant continues the ‘timeless with a nod to Greece’ feeling with much of the attire. The sisters’ combat boots tell you the city’s been at war, their velvet gowns tell you they’re noble. Creon’s power pantsuit is every female politician’s dream.

It looks like Artistic Director Sam Strong has chosen to depart Queensland Theatre with a bang. This show is tight, tight, tight! Kudos to all involved.

Kiesten McCauley 

Images: Christen O’Leary and Jessica Tovey