Antigone

The director is right to call Antigone an eternal play. Though an adaptation by a translator of an adaptation by Jean Anouilh of a tragedy by Sophocles, the play is as straightforward as it is colloquial while poetic. That it is as contemporary as classic may also be attributed to its direction and acting at FSU/Asolo Conservatory.

Within huge stone structures, a metaphor for the beliefs and stances of opponents Antigone and Creon, the play gets “set” by a Chorus of one. Perceptive, authoritative yet nonjudgmental, Olivia Williamson smoothly introduces the characters, their functions and fates. She casts them -- and audience -- into the dramatic dilemmas.

The essential story: Creon has designated a dishonorable death with non-burial for his opponent Polynices, brother of Antigone, who’s betrothed to Creon’s son Haemon. In Anouilh’s version, Antigone has already performed the forbidden-on-pain-of-death burial rite. Soon to be arrested by Guards (led by Jason), Antigone argues with sister Ismene for the need to defy oppression, to refuse compromise with the opportunistic ruler who, sure that the State needs his political absolutism, must keep absolute power.

Despite her youth and physical fragility, Andrea Adnoff’s Antigone exhibits great strength under pressure. She knows she’s aligned with the Gods and their law. She eventually wins over Ismene (lovely, sincere Gracie Lee Brown) from her early view that perhaps compromise with an able ruler in tough times would be best for the State.

Creon couldn’t be more wheedling than in his terrific portrayal by Brian Owen. He may easily cajole anyone but equally stubborn Antigone. Creon’s Machiavellianism is particularly evident in his two-faced treatment of his Guards.

Michael Frishman stands out as Jason, the important leader of Jory Murphy’s and Matthew R. Olsen’s rough, unquestioning, dutiful assistant Guards. Jason is a kind of Miles Gloriosus. His unquestioning obedience to Creon (who plans to kill him if Antigone chooses life) is backed by a desire for a bonus and maybe promotion. Yet he feels guilt “telling on” Antigone and her burial acts. He represents collaboration as opposed to resistance. So what if better living precludes freedom to live as one should?

Paul Herbig as likeable Haemon ardently represents the youthful lover and the son who defies his bossy, really unloving father. Unlike Ismene, he has never wavered in commitment to ideals.

Ally Farzetta deserves praise for her mostly silent but still significantly communicating Eurydice, Haemon’s mother. That Creon calls a meeting about the State minutes after learning of her death tells more about him than do words.

Josh James does well vocally as the Page. Unfortunately, the weak spot in the production is the Nurse. She is played by a too-young, too-timid, more student than actress. Knowledge of her importance is conveyed entirely -- and thus it comes through -- via the fine introduction by Olivia Williamson as Chorus.

David Covach’s costumes – especially Antigone’s simple but supple white and later blood-red dresses as well as Creon’s formal black Head of State attire -- adorn the actors perfectly. Anouil’s wishes for black-leather-bound Guards have also been effectively granted.