Dazzling choreography and costumes, but a difficult production
THIS is a difficult production to watch for several reasons.
First of all, it is all in Greek and staged in such a way that if you have no clue about what the play is about, it is highly unlikely you will be able to fully understand it. OK, there is an excellent opening scene of an execution during which almost the whole chorus gets symbolically shot – the actors’ costumes are excellent by the way – and this might give you an idea that the whole play takes place during or after the war but somehow it seems not enough to carry the whole message.
This doesn’t mean the latest production by the Cyprus Theatre Organisation (THOC) is not worth of seeing. Quite the contrary, it is, but bear in mind it is heavy and lengthy and you have to get prepared for watching it, which means that, if you know Sophocles only superficially, read it again please and, if you don’t, get yourself a copy and study before attending.
The second reason why the production is difficult to digest is that, even if you know the play, director Stavros Tsakiris’ interpretation is very complex and has multiple layers of meanings that only people well acquainted with the history both of the ancient Greek and modern theatre will be able fully to process.
Tsakiris himself admits the preparations for the production took him over a year and quotes a number of references that include even the Japanese art of using lack of movement for underlining what is happening. This is all very impressive, but somehow often gets executed carelessly, which is especially visible in this concept of using a posture or seemingly unnecessary ritual gesture for meaning.
Perhaps the problem lies in a different understanding of the pace of such techniques, but it seems as if sometimes at least some of the actors haven’t fully grasped the idea and are even slightly irritated by having to perform like this.
Saying this, it is also true that on the whole the choreography of the performance, done together by Tsakiris and Arianna Economou, is splendid, beautifully performed by the members of the chorus that represents citizens of Thebes, and particularly enjoyable if watched from the top rows of the amphitheatre. There was a viewer at the premiere who was constantly moving his seat and going up and down the place and as much as it might have been annoying, his attempts to achieve a constantly changing perspective were correct.
The ‘glassy’ set design by well-known Greek sculptor Kostas Varotsos looks more like a 25th century town located somewhere in a different galaxy (see Star Wars) and is very cleverly used by the director as the place were both the living and dead can find their space. While during the whole play it reminds you of a big anonymous modern city, at the end it transforms into some sort of catacomb where those who killed themselves (and this play is full of them) willingly take their places.
Antigone is played by famous Annita Santorineou, a talented and experienced actress, yet who seems confused in her interpretation. At moments her acting was oversimplified and on other occasions too expressionistic. The same goes for other actors who, especially when the text asks for dignity, use too much pathos. When asked about the style he wanted to achieve, Tsakiris argues he aimed at modernism, yet admits also being influenced by Munch’s and Bosch’s paintings. One can argue that all this mixture is there for a purpose but perhaps there are too many ingredients in just one pot.
Excellent costumes are designed by Yiannis Metzikof who uses colours to portray the importance of all the protagonists; for example, Antigone stands out wearing red, her sister Ismene is more subdued in yellow and Creon’s wife Euridice almost disappears in brown. The usage of contemporary white for Creon’s son and Antigone’s fianc? Haemon is controversial as the closest reminiscence it brings is connected with Chechov’s The Cherry Orchard. Tsakiris, however, argues it shows Haemon’s youth and the fact he doesn’t really represent anything by himself.
Music has been selected by the director from Mikis Theodorakis and sounds very interesting. It won’t help the fact that the production lasts three hours and might tire you but it adds to its richness of detail and your need to repeat the suffering of watching it again in order to understand it better.
Antigone by Sophocles, performed by THOC. Nicosia: July 21, Skali Aglandja; Larnaca: July 8, Patticheio amphitheatre; Pahos: July 9, Ancient Odeon: Limassol: July 13, 14 and 15, Curium Ancient Theatre; Dherynia: July 19, Dherynia Amphitheatre. All performances start at 9pm, tickets £10 and £5. Tel: 22-773571, 22-772395.
