ANTIGONE

 

Antigone by Sophocles.

Directed and designed by Cate Clelland. Produced by Michael J Smith. Graphic designer/Photographer Carl Davies. Costume designer Tania Johnson and Cate Clelland. Movement director Lachlan Ruffy Greek Theatre Now3. The Burbidge Amphitheatre. Australian National Botanic Gardens. April 10,11 18-21 2025. Bookings:www.greektheatrenow.com.au

Cast: Ella Buckley, Sienna Curnow, Ian Russell Chorus: Kate Eisenberg, Neil Macleod, Jessica Beange, Samuel THomson, Selene Thomson, Sarah Hull, Justice-Noah Malfitano, Crystal Mahon, Alastair McKenzie, Sienna Curnow, Michael J Smith

Reviewed by Peter Wilkins

Ella Buckley is Antigone

 

 A new theatre company has appeared on the Canberra stage. The brainchild of producer Michael J Smith and director Cate Clelland, Greek Theatre Now makes an impressive debut at  the Burbidge Amphitheatre in the heart of the Australian National Botanic Gardens. Signs point the way from the Visitors Centre through the leafy rainforest to the small stone amphitheatre. It is the ideal setting for Sophocles’ immortal tragedy, Antigone. It is quickly apparent that what Clelland and Smith have created is a wonderfully clear telling of a story that captivated Greek audiences 2,500 years ago at the theatre of Dionysus in Athens.  

The Chorus and King Creon (Ian Russell)

From the moment that Chorus Leader ll (Kate Eisenberg) addresses the audience with the background story to the play the drama unfolds with captivating clarity. The group of students in the audience from St Francis Xavier College are instantly transfixed by Eisenberg’s prologue and then totally absorbed by the consequences of Antigone’s defiance of authority. Antigone’s brothers Eteocles and Polynices , sons of Oedipus engage in mortal combat. Both die by each other’s hand. Eteocles’ valiant defence of Thebes grants him full funeral honours while Polynices’ treachery in returning from exile condemns his body to the air and defilement.  In defiance of the command by her uncle King Creon (Ian Russell) Antigone (Ella Buckley) resolves to give her disgraced brother proper burial before the Gods. What ensues is the conflict between the will of the individual and the authority of the state.

Haemon (Alastair McKenzie), Creon (Ian Russell)

 

Greek Theatre Now’s recreation of Sophocles’ Antigone in the open air amphitheatre and unaided by modern technology possesses a compelling authenticity. There is a declamatory conviction in the performance, supported by the commentary by the Chorus who describe the events, judge the actions, advise the characters and reflect society’s attitude. Director Clelland and movement director Lachlan Ruffy combine movement, dance, choral voice and chant in a finely orchestrated choreography of voice and movement.

In keeping with tradition, some performers would step out of the chorus to take on the roles of  major characters in the drama.  Chorus leaders (Neil McLeod, and Kate Eisenberg). Creon and Antigone maintain their roles throughout. Clelland’s direction is precise, insightful and constantly honouring the story. A flock of cockatoos appear to screech on cue as omens to the drama, but Clelland and her cast allow no distraction.

Clelland’s incisive direction cleverly draws forth the vulnerability of her characters and the human condition. Sophocles’ observance of the human condition underpins each performance. Russell’s Creon is driven by a fear of defiance and the stubborn resistance to reason. It is a performance more human in vulnerability than archetypal in hubris. Buckley’s Antigone is not the woman of steel but a loving sister determined to do what is right by her brother and against the wishes of the law. Buckley gives a very human and moving impression of a young woman , trapped and yet resolved to do what is right in her eyes and the eyes of the gods. Sienna Curnow as Antigones’ sister Ismene is the perfect foil, fearful of consequence and yet bound by the laws of the state. 

Tieresius (Michael J Smith)

There are strong performances by minor characters. Justice-Noah Malfitano’s fawning fool of a guard lends a clownish aspect to the character of the Guard. Michael J Smith’s blind prophet Teiresius gives credence in his dramatic evocation to the saying “There’s none so blind as those who do not see” Creon’s son Haemon is played by Alastair McKenzie with the universal  reality of the contemporary youth. It is in the performance of all the characters that we observe the universality of the human condition in all its aspects. Crystal Mahon as the Messenger and Sarah Hull as Creon’s wife Eurydice also give credible performances. This thoughtful and faithful production of Sophocles’ Antigone is an excellent example of ensemble playing. It is appropriately declamatory and moralistic in its discourse on the condition of Man and plea for reason and happiness through wisdom.

 Greek Theatre Now’s  inaugural production is a welcome innovation in Canberra’s vibrant theatrical landscape. Its amateur status gives it a raw honesty and professional truth that echoes through the ages. If you want to experience what it may have been like for the Greek audiences to witness Sophocles’ Antigone in 441 BC at the Theatre of Dionysus then Greek Theatre Now’s production for contemporary audiences is a must see experience.