(Rated 3/5 )
I absolutely
longed to give this production a higher score. I do wonder if I went in with
massively high expectations, which simply could not be satisfied. Why so much
expectation? Well the play itself is a classic – probably one of the most
famous of the Ancient Greek Tragedies – the power and impact of which is
enduring as it addresses issues that remain with us today: Conflicts between
the state and the individual, dictatorships, authority full of perhaps high IQ
but controlling rigidity that will not allow any emotional intelligence through
- leading to battles between legal laws and laws of the heart, law in dispute
with morality, familial love set against a father or uncle’s need to dominate,
male versus female in a society in which the former merits more than the
latter… the head versus the heart. And in this particular production one of my
favourite actors, whom I have longed to see on stage more – and so has he
longed to be ;) – following his many wonderfully powerful screen performances,
Christopher Eccleston. I think I have been spoiled by seeing many superb
productions in recent times so I have become quite demanding! Or perhaps
Ancient Greek Tragedy does not work for me ;).
The plot
surrounds an issue of burial. Brothers Eteocles and Polynices, sons of Oedipus
and his mother/wife Jocasta, have killed each other in battle. The new King
Creon has decreed that Eteocles be respected as a hero, but Polynices condemned
as a traitor. This means that the latter cannot be buried. Antigone, sister to both,
wishes to bury Polynices. If she does so and is discovered her punishment will
be death.
Polly Findlay's production
of the play is set in our contemporary time. The male characters are dressed in
the main in suits – I was hoping for togas – and Antigone - played by Jodie
Whittaker - and sister Ismene – Annabel Scholey – in dresses. The set is a
cold/stark/dark room full of offices in which are a multitude of desks, office
chairs and numerous staff. It swivels round to reveal an outside wall.
Don Taylor’s
play script, adapted from the original by Sophocles, contains numerous orations
from both sides of the argument, which to me felt somehow disconnected. I
wonder, however, if that was how plays were produced at the time – each actor
going to the front of the stage and delivering his part as though in monologue,
and then the next had a turn. I don’t mean that the arguments themselves were
disengaged or did not follow on from each other, but I felt a lack of
connection between the actors. And I honestly can’t put my finger on what
wasn’t working for me. Jodie Whittaker did come from the heart. And Christopher
Eccleston strongly from the power-crazed Creon – he was believable as a harsh,
willful dictator. And I suppose these characters are not supposed to connect so
that would make sense. However, I think what was lacking for me is I didn’t
feel them really challenging each other. I wanted more! It was as though they
were committed to their own sides of the argument, but not to convincing the
other person. More pressure and battering needed J. This was a preview – in fact the very first night of previews – so I
am sure that will develop. Perhaps on a first night actors are a little
careful. I would also say there were a few structural problems in the play
itself – again may come from the original author. Numerous supporting cast whom
we don’t really get to know – I imagine these are the chorus of Ancient Greek
Tragedy. But Creon’s son’s mother is introduced so late in the piece and has
only one scene effectively. I missed seeing her relationship with Creon and
son. There again, how important was a woman in those days? Antigone herself in
fact has a relatively small part considering she is the title role. The main
character is Creon and the story is his process and possible transformation.
And does he transform? I won’t give the game away. In fact the game wasn’t
given away to me either – I was unfortunately in a seat to which Christopher’s
back was turned in a crucial scene towards the end so missed the emotion.
There is so
much potential in this and I am sure it will be realised as they progress
towards the end of the run. I look forward to that J.
Meant to add that the beard we Eccleston fans thought he was growing for Antigone has gone. Christopher is clean-shaven as Creon.
ReplyDeleteI totally agree with your comments.
ReplyDeleteThe play may improve with time and had some great performances in it, but sadly the two leading performers - Antigone and especially Creon, missed some of the vital essences of their characters.
The idealistic dreamer that Antigone is, was lost in a rebellious child that irritated us somewhat, although she improved through the performance.
Creon was portrayed as a one sided control freak and did not connect with either the audience or with Antigone.
I could not feel the struggle of the duty bound leader who was battling to keep control of state and do the best for his people.
I did not identify with his understanding of society, the need for laws, and his wisdom; nor did I feel the personal anguish of a man who does deeply understand & in some ways envy Antigone and her idealism, however in the name of duty must degree her death.
The anguish just wasn't there from these two main characters, and so we just didn't connect...
Thank you very much for your comment, grockelclub. And you are spot on! I also felt like Antigone was a little girl having a whinge at the beginning. And Creon strong and too controlling. They didn't allow each other to affect them, or the audience to be involved. Real shame as they are both very good and have the potential for so much better. I hope all the things you mention will be conveyed as the run progresses. Maybe it is unfair to review a preview when they are still trying things out. Thanks again for your interesting, insightful comments.
ReplyDeleteI keep having new thoughts from new experiences and insights on this production. Last Friday I was at Polly Findlay's talk on Antigone at the NT. She was asked about the choice of Don Taylor's translation of the play and explained that it had the 'strongest muscle' of those available. I have read from other sources that it is also the least 'emotional and sympathetic'. Polly also explained how the team made a choice not to 'frontload' it as a family drama. She also spoke about dividing up the chorus into different voices expressing different points of view. I do think all of these things contributed to the feeling of disconnection I had and lack of empathy and transformative journey, especially for Creon. And what a massive shame that is/was! As Polly herself says she cast Christopher Eccleston in the role because he is 'naturally appealing' and provides 'charisma, humanity, vulnerability and strength, personality and weight'. And then later, when challenged on Creon's coldness and lack of journey, she replied that Chris 'plumbs the nuances of {Creon's} vulnerability' as we see him 'thinking about what he’s doing'. Fine but there could have been so much more!! I feel almost annoyed that such an impressive talent as Chris has, with such wide and subtle range was not fully 'plumbed' to all available depths by the script, directorial and production choices... You may be reading more from me on this as and when I see the production again.
ReplyDelete