What a wonderful play – a tragedy, a critique of tragedy and a comedy all in one. I didn’t know it in advance, and so was startled by the effectiveness of its murder mystery aspect - something this production emphasised by its setting and style.
Touching, and even, for some, deeply moving, this script gave the cast a wonderful array of theatrical modes and devices on which to draw in their realization. And they exploited these opportunities to good effect. For instance, at certain points, the guards played cards with the audience, and the nurse went begging from audience members for supplies for the refugee camp at which the disgraced family of Oedipus find themselves.Then there were the film-like opening and closing sequences, set to music – Antigone hurriedly throwing earth on the corpse of her brother, Antigone taken for execution. And there was also the narrator, Tanushree, from whom I received many a disapproving stare, constantly informing and yet always insecure about the response of the audience. Comic relief, in the form of the guards and the nurse, makes the tale more poignant, as did the triumphantly joyful scene between Antigone and Hayman (Eeshta with Katalin), her devoted, confused lover, even as Antigone is denying their chance of love, forever.
The choice of the tree house behind Wada 3 as a venue was hard won and nonetheless inspired. The audience spied on the drama through the branches of trees now dry and cracking, and the dusty grove offered enough space for the guards to run about the area, giving the impression of great distances and very much in keeping with the epic scope. Lujza and Joanna were fun as the slovenly guard and chief guard respectively.
Perhaps the play’s final affirmation is of tragedy as a way to arrive at your self, and maybe this will stay with us longest in the end. Congratulations to the year one theatre course cast and directors for this fascinating and touching contribution.
Touching, and even, for some, deeply moving, this script gave the cast a wonderful array of theatrical modes and devices on which to draw in their realization. And they exploited these opportunities to good effect. For instance, at certain points, the guards played cards with the audience, and the nurse went begging from audience members for supplies for the refugee camp at which the disgraced family of Oedipus find themselves.Then there were the film-like opening and closing sequences, set to music – Antigone hurriedly throwing earth on the corpse of her brother, Antigone taken for execution. And there was also the narrator, Tanushree, from whom I received many a disapproving stare, constantly informing and yet always insecure about the response of the audience. Comic relief, in the form of the guards and the nurse, makes the tale more poignant, as did the triumphantly joyful scene between Antigone and Hayman (Eeshta with Katalin), her devoted, confused lover, even as Antigone is denying their chance of love, forever.
The choice of the tree house behind Wada 3 as a venue was hard won and nonetheless inspired. The audience spied on the drama through the branches of trees now dry and cracking, and the dusty grove offered enough space for the guards to run about the area, giving the impression of great distances and very much in keeping with the epic scope. Lujza and Joanna were fun as the slovenly guard and chief guard respectively.
Perhaps the play’s final affirmation is of tragedy as a way to arrive at your self, and maybe this will stay with us longest in the end. Congratulations to the year one theatre course cast and directors for this fascinating and touching contribution.
Benedict Clark
Head of Aesthetics
A DAY LIKE TODAY ~ ANTIGONE
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