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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
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.
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.
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.
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.
