Review: Ambitious ANTIGONE NOW at Scena Theatre Falls Short of its Potential

ANTIGONE NOW is based on the nearly 2,500-year-old Sophocles drama, but in Scena Theatre's hands it could use even more time to gel. From missed lines to erratic pacing, ANTIGONE NOW squanders its interesting potential and never hits its stride.

The production by the long-established, Helen Hayes-nominated Scena seems to have the tools to deliver a compelling production: experienced Equity actors, a modern retelling of one of the most enduring dramas by a highly acclaimed Slovenian writer, in the practiced directorial hands of the company's founding artistic director. Ultimately though, the production is muddy with some moments inexplicably played for broad laughs, with other key scenes so rushed the characters' motivation is lost to the audience, and with some plot points left dangling that leave the viewer frustrated.

ANTIGONE NOW is the modern retelling of the tragedy with contemporary personal and political stakes - luxury hotels and eminent domain, civil disobedience, jobs creation, family fidelity. Clara and her family live in a seaside town along the Mediterranean. Her uncle, the mayor, forges a deal with foreign investors to build a luxury hotel and golf course which could lead to ample jobs and economic prosperity for the depressed area. But, completing the golf course requires demolishing the local graveyard and moving the corpses to a crematorium the mayor intends to build. Clara refuses to surrender her departed brother's grave. An intense confrontation unfolds pitting the common good against personal values. Family and friends form new alliances and dredge up past times good and bad as each attempts to find some peaceful settlement that will ensure his or her own interests and supremacy.

Danielle Davy as Clara and Ron Litman as the mayor are strongly matched as each seeks to assert their convictions and refuse to yield to compromise. The play's most absorbing scenes are between the two as they attempt to connect and persuade. Matt Dougherty provides stability and fresh outsider eyes as Peter, a childhood friend who returns to the village when news of his childhood friend's stubborn refusal to yield begins to attract media attention - today's Greek chorus. Kim Curtis providing the sage counsel of Master Guido, offers a fascinating mix of wisdom, mystery, and vulnerability. Clara's sister Sabina (Amanda Forstrom) and step-brother Philip (Joseph Carlson) connive and conspire to secure their places. Joe Palka as the befuddled security guard helps the audience see how much the community is counting on the needed jobs from the hotel and golf course. Colin Davies as "a gentleman from Heidelberg" has a memorable character role as he returns to claim his mother's bones from the pile awaiting the eventual transfer to the crematorium when it is built (whenever that might be). His role as the fool echoes a classic from a mere 400 years ago: Hamlet's gravedigger, though alas, even poor Yorick was spared the ignoble ending of gunshots and hot dog. He meets his end at the hands of hired killers (Bob Sheire and Stas Wronka). Though Clara and the mayor might be at odds we can see there is some ethical and honorable value in each of their positions whereas the cynical killers are completely amoral.

Director Robert McNamara, Scena's founder, spends a great deal of time with the broad comedy of the early scenes. The action veers toward speedy melodrama toward the end when, though much is happening, the audience would be better served to experience the weight of the tragic missteps.

Set designer Michael Stepowany uses simple set pieces to great effect - a ladder, headstone, multilevel risers and a gorgeous backdrop of clouds - all are stark and functional. Marianne Meadows' lighting design integrates well with the scenic elements. Alisa Mandel designed the costumes. The small space provided challenges for Denise Rose to design the sound since the intimacy of the theater made it apparent if a phone buzz and a tolling bell emanated from the same speaker. The intimacy of the theater also proved challenging with staging that frequently incorporates lit cigarettes. The smoke fills the small theater space fills quickly and does not readily dissipate. Once or twice it provides an interesting character point to show disrespect in the graveyard but the smoking ultimately becomes an annoyance and distraction. There is no signage at the theater to alert patrons with sensitivities.

ANTIGONE NOW was written by Evald Flisar, an award-winning contemporary Slovenian novelist, playwright, essayist and editor. The Scena Theatre production will travel to the playwright's homeland after short run in DC before heading off on a European tour. The first stop is the International Festival of Slovenian Drama. Scena is the first U.S. theater company to be invited to the drama festival. Scena will also tour the production to Italy and Austria. Scena is no stranger to international touring - for about a quarter century the company has taken work abroad to important festivals and cultural exchanges.

Scena Theatre's mission is to encourage cultural exchange among theater artists and to introduce Washington audiences to exciting work from around the world. For this they are to be commended. ANTIGONE NOW is an interesting interpretation of an enduring classic that is important to reconsider in the context of our times. This time, unfortunately, the production did not live up to its aspirations.

Runtime: 1:30 with no intermission

ANTIGONE NOW runs through April 2 with shows Thursday, March 31, Friday, April 1 and Saturday, April 2 at 8 p.m. (A previously announced Wednesday, March 30 performance has been canceled.) The production is at the Atlas Performing Arts Center at 1333 H Street, NE, in Washington. For tickets or for more information, please see the Atlas Performing Arts Center website here or the Scena Theatre website here.

Photo Credit: Jae Yi Photography. Top: Danielle Davy as Clara in Antigone Now. Center: Kim Curtis and Danielle Davy. Bottom: Stas Wronka, Colin Davies, and Bob Sheire.

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