Through October 5, 2008
Reviewed by Chris Gibson
It makes for an interesting contrast, to have seen a more formal staging of Sophocles's tragedy, Antigone, and then to have taken in the 1944 adaptation by Jean Anouilh that sets the tale during the time period when it was translated and reworked. As a fan of re-imaginings, I can honestly say I find the changes intriguing. But, I'm not sure whether these alterations really serve the play any better than a traditional staging does; both have their strengths and weaknesses. The St. Louis Actor's Studio is presenting a well acted, but only sporadically engaging production, that leaves that question unanswered.
When Oedipus dies, his sons are told that they will share the throne, alternating the kingdom's reign on a yearly basis. But, Eteocles refusal to yield to Polyneices results in civil war, and a bloody ending for both. Their uncle Creon assumes power and, in an attempt to restore order, declares Polyneices a traitor. For his offense, his body remains above ground, slowly rotting for all to see. Antigone's decision to defy the law and bury her brother is interpreted as treason, an act punishable by death.
Emily Baker is strong as Antigone, and freed from wearing the masks of a more traditional portrayal, she's allowed to give a more subtle and nuanced performance, though it's certainly not bereft of passion. John Contini imbues his marvelous work as Creon with a resolve that blinds him to the simplest solution to his dilemma. He wrote the law after all, so it's within his power to rescind it as well.
Contini and Baker are at their best during Act Two, when they square off, pricking holes in each others' principles. This version finds Creon raising enough valid points to sway all but the most convicted. But, his firm stand only lands him a triple suicide that wipes out most of his family tree. Antigone's noble decision brings her martyrdom, but if we're to believe any of what her uncle tells her, it seems a rather foolish choice. I don't think that's what Sophocles intended, even if it does provide food for thought.
A solid supporting cast includes: David Wassilak as a trench coat clad Greek chorus; Teresa Doggett as a doddering, but kind nurse; Megan Vickers as Ismene, who supports her sister a little too late to be of any help; Aaron Baker as Haemon. Antigone's betrothed and Creon's son; and William Roth as a chatty member of the king's guard.
Milton Zoth's direction is generally fine, but the play drags during the second act. Though there is a bit of physicality and movement during Creon's confrontation with Antigone, too much of the action that comes before and after, is flatly staged. Patrick Huber's multi-level set features split columns that parallel the schism of power that's occurring. Huber's moody lighting scheme allows for patches of darkness and shadow, lending the piece a film noir feel, especially when Wassilak is on stage.
Anouilh's adaptation is powerful at times, especially when it condemns the machinations of politics. But the colloquialisms of the 1940's seem quaint and misguided when used to ground this classic play in the present.
Antigone continues through October 5th (2008) at the Gaslight Theater. Call 314-458-2978 for ticket information.
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