The Story
"Antigone": A Greek Drama with a French Twist
It is February 6, 1944. Upon entering the theatre, the predominant mood is one of fear. As the Nazi guards, played by Andrew Collie (’11) and Justin Vazquez (’10) patrol the house, Colonel Kossman, head of the German General Staff of Paris (Ari Cukierman, ‘11) and Frau Kossman (Kay Schellman, ‘09), patron of the Arts, take their box seats on the stage to review the production. As the nervous Emile Miraud (Connor Hogan, ‘10), Minister of Public Instruction and producer of the show assumes his own seat, the Theater Department’s striking presentation of Jean Anouilh’s adaptation of “Antigone” opens.
Framed within the setting of original production, the College paid tribute to Anouilh’s struggle to produce his show in Nazi occupied Paris. Incorporating the fusion of 1944 France and ancient Greece, Professor Patricia Wesp costumed the royal women in the colorful, flowing garb of ancient Greece, the royal men in classic tuxedos and tails and finally, the guards in military uniforms evocative of the Gestapo.
A particularly chilling moment occurred after Creon’s speech glorifying the power of fascism, which inspired repugnance in the heroine but prompted the hosts to clap exuberantly. Occasionally, it seemed as if Antigone (Beth Fagan, ‘11) delivered certain lines specifically to the General in the audience. This interaction between the “actors” in “Antigone” and the “honored guests” brought a new dimension to the piece.
Christopher Owens’s direction reached out to the audience and commanded its attention. Owens’s use of levels brought tremendous variety to the set, and his staging, though fairly realistic for a classic tragedy, still dynamically included the audience.
Lit by the great Richard Palmer, the tragedy played in the ruins of a Greek city, a multi-leveled set with crumbling columns and collapsed walls as platforms. In the final scene, the whole set was darkened except for the cell-like lighting of Antigone and guard and a soft, eerie light upon the observing Chorus.
Fagan shone as Antigone, balancing the horrible conviction in her fate and devastation for her lost life. With the ability to stand onstage and command the focus of those onstage and off, Fagan proved herself a powerhouse in the title role. Her nuanced performance expressed Antigone’s duty to her brother, love for her betrothed, sympathy for her Nurse and fear of her own death.
As Antigone’s betrothed, Sean Close (’11) portrayed Haemon with the sentimentality necessary for a young lover, yet he remained genuine in his emotions. Close brought this believability to an especially heart-wrenching scene in which Haemon desperately urges his father to spare Antigone.
As Creon, Nick Shea (’08) showed incredible endurance as he dominated the action with a strong, authoritative presence. However, Shea undercut his dictatorship with the weaknesses of most leaders: paranoia and fear. Both actors shone during the epic confrontation between Fagan and Shea as they physically and mentally grappled over the ideas of duty and politics.
Anna Lien (’08), as the Greek Chorus, set the mood of the play with her detached, sultry narration, strutting around the mortals trailing smoke from her cigarette. Other notables include the graceful Emily Rossi (’09), who portrayed the conflicted Ismene with harrowing emotional depth. Additionally, Peter Andre (’08) effectively delivered devastating news, painting a tragic picture of the off-stage deaths of Antigone and Haemon to Eurydice, Creon’s wife, played elegantly and subtly by the Chelsea Cottle (’11).
Despite the strong element of tragedy in the show, the cast did not lose their sense of humor. Providing much needed comic relief, Bess Kaye (’08) delighted as the Nurse. Jack Stuart (’09) also assumed the role of comedienne as the ridiculously obsequious guard who arrests Antigone. Stuart demonstrated a fine-tuned comic sense with his fast-talk that garnered laughs but did not de-rail the motion of the play.
As the cast took their curtain call, an exuberant audience member rushed toward the stage with bouquet of flowers. Unfortunately, Colonel Kossman’s Nazi guards seized her before she could reach Fagan. As panic spread through the audience and cast alike, one was reminded that although Creon’s reign is over, the injustice of Antigone is real. With an order for revision of this dangerous production, Kossman (Cukierman) refused to break the reality of the framing, concluding a production that stood stalwart in its ingenious concept and execution.