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Antigonick at Shotgun Players

At a time when the young co-pilot of an airliner seems to have committed suicide taking with him all his co-workers and passengers, Antigone starts to make a lot of sense. And fresh with other productions of other translations and interpretations of the play, I went to see Antigonick at Shotgun Players tonight. It is fantastic.

The first few minutes of it are emotionally breathtaking, as we plunge into a neurosis expressed in movement and sound that will continue throughout. It is very physically demanding of the actors, I think, to move in such ways to express the state of their minds, which could not be expressed by words. Finally, I thought, a truly modern play, one in which there is meaning in how the characters interact and don’t interact with each other. Except that it is a Greek tragedy. Does that even make sense? In the middle of the play I think of what could have been on the pilot’s mind, and how that stayed in his mind until the end. In this production and interpretation, we watch the minds going crazy over what is the inevitable faith of their bodies, of a king who cannot get out of his role and change his mind, of children who cannot follow rules. There is dance and I would point out it is more body expression than dance, by that I mean don’t try to interpret the meaning of the movement but see the movement as an expression of what goes on in their minds. In a world in which we are privy to everyone’s private conversation, we forget that a lot of people can’t find anyone to talk to when they need it the most.

And I wondered, how did the set designer come up with this floor bent 90 degrees to become a wall they cannot climb? Go see it, it is quite amazing. There is crawling and climbing and at the end a symbolic support from the Nick of time…

Kevin Clarke* as Kreon, Rami Magron* as Antigone.Background: David Sinaiko as The Chorus, Parker Murphy as Nick



This entry was posted on March 27, 2015 by in Uncategorized.
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