Through Sun 3/27
Sophocles’ Antigone (c. 441 BC), now at the Outcalt Theatre in Playhouse Square, is a humbling reminder that human societies still have not become perfect. Director Lauren Keating makes this clear in the current Cleveland Play House presentation.
Originally planned for 2020, the production shut down after the Covid outbreak. As CPH Artistic Director Laura Kepley wrote in the program notes, the tragic story turned out to be unexpectedly timely this year when the Ukraine/Russia conflict erupted: “The decision to bring Antigone back was one of the easiest decisions ever, because we knew the story was only going to get more relevant. We just couldn’t imagine how relevant.”
Adapted by Emily Mann, this stripped-down Greek family drama focuses on Creon, commandingly portrayed by Vanessa Morosco, and on relationships between country and family. Does family loyalty come first? Creon’s passionate young niece Antigone, played by an engaging Mariah Burks, argues yes. Or does a leader’s responsibility to the nation outweigh personal relationships? As ruler of the kingdom, Morosco’s stately Creon argues it does. Their tragic collision of loyalties justifies CPH’s trigger warnings about suicide and self-harm.
Antigone’s conflict stems in part from her youth. Her brothers took different sides in a recent battle. She defies the powers that be (her uncle, Creon) because she loves both of her brothers. Creon has decided that only the dead victors should be buried. The losers’ bodies remain on the battlefield and animals eat their corpses. Love and honor make her feel this is wrong, but Creon says such discipline is necessary to maintain peace in the future.
Naturally, arguments solve nothing. Even the words of the revered prophet Teiresias fail to shift their stubborn convictions. Steve Gladstone’s dignified portrayal of the blind prophet was utterly persuasive— too bad neither the young nor the old listened.
Other cast members included Christopher B. Portley as Haemon, Laura Starnik as Eurydice, and Bridget Kim as Ismene. Sierra Grabowska, Isaac Baker and Fabio Polanco served as royal officers. The chorus members were Kristina Gabriela, Gustavo Marquez, Jordan Taylor and Noah Williams.
While scenic designer Courtney O’Neill’s striking backdrop intentionally suggested Cleveland’s City Hall and local conflicts, the theatre’s three-sided stadium seating itself also added a more universal element. Audience members could see others across the way just sitting and observing (as they themselves were) as the drama raged on. It embodied the idea that today, as in ancient days, all we (humans) can do is observe the death and destruction wars bring. Despite noble efforts, peaceful solutions to world problems still elude us.
Costume designer Sara Ryung Clement provided snappy outfits reminiscent of those in Star Wars films. Karin Olson as lighting designer, Megan Culley as sound designer and Nathan Motta as music director added impact and clarity to the production.
Bottom Line: An excellent no-intermission-needed production of the timeless classic.
[Written by Laura Kennelly]