The Infernal Machine
This tragedy was written 3000 years ago by Sophocles but has
been adapted by Lewis Galantiere and based on the modern dress play by Jean
Anouilh. It is directed by Tobias
Andersen and is playing at their space, 7515 N. Brandon Ave., through February
11th. For more information,
go to their site at www.twilighttheatercompany.org
I believe a word is in order first about the Nature of
Tragedy. It means that everything is
fated, that man does not have any choices and the inevitable will happened no
matter what else occurs. And, within
that, there is a certain ease, a tranquility, an uneasy acceptance knowing that
your life is mapped out for you. And the
purpose then, one might ask? To,
perhaps, simply debate the issues for those observing who have choices, and to
let them decide the villainy or heroics of such actions. For a Tragedy, also, has an unsettling
feeling that it is universal, that it will happen again and, possibly, that if
situations like this are not resolved, it will repeat itself in our time. For example, look at the state the world’s in
now.
To begin the action, a Chorus (Chris Murphy), is employed to
comment on the story and narrate it to move the plot along. It is the tale of the Establishment, Creon
(Jim Butterfield), the current King of Thebes, rattling his saber to prove he
has power over all. And one of his new
laws proclaims that the valiant soldiers who fought with him are to be buried
with honors, but those from the opposing force will be left to rot in the sun
and have their bones picked over by the vultures.
But this does not sit well with his niece, Antigone (Amy
Lichtenstein), who is a rebel by nature, inheriting this trait from her father,
Oedipus, since one of her brothers was of the opposing force. Her sister, Ismene (Mikayla Albano) agrees in
spirit but does not have the courage of action.
To complicated matters further, the Kings son, Haemon (Blaine Vincent),
is in loved with Antigone and they are to be married. Their Nurse/Nanny (Dorinda Toner) sympathizes
with them but still views them as little girls.
Antigone’s plan is simple, she is going to bury her brother, even though
the threat of death looms over this decision.
Jason (John Armour), and his minions (Jason A. England and
Rob Kimmelman), are charged with guarding the body, but the inevitable happens
and she is arrested. There is a long,
fascinating discussion between uncle and niece, in which both reveal more to
the story than most of the masses know, and both individuals have some solid
points of view. In the end, though, as
mention, Fate rules, as a Messenger (Samuel Hawkins) announces the outcomes of
their actions, and the King and his family, including his son and his wife,
Eurydice (Bonnie Littleton), are victims as well. And so he is left with his almost mute page
(Micah Oesterrich Finke) to muse over the debris.
This is a powerful play and certainly has some relevance to
today’s situation worldwide. It is done
as a “black-box” style of theatre, which relies only on the author’s words, the
actors’/director’s vision and the audiences imagination to relay the
story. This is a difficult piece and,
for the most part, is presented by actors with little professional
experience. But in the hands of a Master
(Andersen), the performers will soar in their presentation, as they do here. Andersen is an exceptional performer and
director in everything he does and those that are lucky enough to work with his
guiding hand can count themselves blessed.
Butterfield is a pro and he shines here, giving us a very
conflicted King, steadfast in his resolve but still very human, looking for a
way out of this dilemma. Lichtenstein is
a natural in a difficult role. She plays
it with a simple resolve and never wavers from her path/fate. She definitely has the “right stuff” and
could make a career of this. Murphy, as
our guide, has the look of a young Sydney Greenstreet (as Tobias revealed) or,
more recently, the late actor, Victor Bruno.
He rivets you with his presence and commands attention when
onstage. He, too, should go far in this
field. The rest of the cast does well,
also, under Andersen watchful eye. Look
for his production of “Rashomon,” perhaps in the Fall, another classic in his “bucket
list” to direct.
I recommend this production.
If you do choose to see it, please tell them Dennis sent you.
--DJS
No comments:
Post a Comment