Front Row Reviewers

Aug 1, 2022 | Reviews, Theater Reviews, Utah

Scaffold Theatre’s Antigone at the GSLFringe Cries Out with a Strong Female Voice

Front Row Reviewers

Front Row Reviewers

By Landon R. Richards  

There are a lot of good shows at the Great Salt Lake Fringe Festival this year and I was lucky enough to see one of the standouts, Antigone produced by Scaffold Theatre. Scaffold Theatre is not new to the GSLFringe, in fact their play Amber:Alert won Outstanding Original Script there in 2019. The same award-winning playwright, Julie-Anne Liechty also penned this version of Antigone, the Greek myth first brought to the stage two millennia ago by Sophocles.

This fresh new version of the play sticks to the basic plot told by Sophocles and has a traditional Greek chorus but adds in several characters and fleshes out roles that are barely heard from in the original. And I am happy to report all of those characters are women, giving the piece a strong female presence. In fact, quite the reverse of many plays out there, the cast of eleven has only two men in it.

It opens with haunting music of Gustav Holst’s “Rig Veda” setting the tone as the Greek chorus of three young girls: Georgia ColesAliyah Smith, and Elizabeth Geronimo take command of the stage. They beautifully set the scene painting the picture of the Theban civil war that has just ended in a stalemate, both heirs of the throne, Antigone’s brothers, having killed each other in the final battle. Next enter three young women, the backbone of the story, Antigone herself (Avery Bigler), Ismene her sister (Marlo Haleck) and a new character to the tale, their timid cousin (Shaya Liechty). Unlike Sophocles’ version, these three young women are the main focus of the play as they deal with the strict decree set by the antagonist King Creon (Jordon Scott) that one of the dead brothers must not be buried as punishment for his rebellion.

Bigler’s Antigone is powerful and nuanced. She deftly maneuvers the depths of this great role, bringing a blend of strength and vulnerably with her slight physique and strong, passionate outbursts. Haleck’s Ismene, the more reserved of the two characters, gives a quieter yet also deeply passionate performance. The two young women have some stunning moments, particularly in the scene where Antigone begs Ismene to help her bury the shunned body of their fallen brother.

One of my favorite scenes was between Antigone and Haemonia, played by S. Liechty with the endearing awkwardness of a burgeoning teenager, as she pleads her case to help in the secret burial. Another standout is Madeline Lamah’s Queen Eurydice. Not only is Lamah’s appearance stunning and queenly as her role, the emotional depth and honest delivery of the tale of her own young son’s demise is heart-wrenching. And Scott’s portrayal of Creon shows a wonderful descent from King to tyrant.

But it’s not all Greek tragedy, Audrey Pan and Brian Porter delightfully bring the show some comic relief as the hapless, reward-grubbing Soldiers left to guard the body of the fallen brother. There are several moments in the play that truly are astonishing. No spoilers here, but the Greek chorus of Coles, Smith, and Geronimo, sometimes with humor, sometimes with solemnity, and sometimes with pure impishness contribute greatly to those moments. Also one of my favorite parts was when the play’s author J. Liechty, who also plays Tiresias, enters as Thebe’s blind seer. She is fierce and foreboding.

As a playwright, J. Liechty brings a tightly woven story that beautifully carries us through the arc of this ancient tale, emphasizing the point of view of characters on the margins of power. Each role is diverse and the language eloquent, colorful, and slightly archaic in a way that befits the tale.

Christy Summerhays pulls it all together with her brilliant direction. She uses elements of traditional Greek chorus work, and teases out solid performances from all of the actors, crafting a strong telling of the story. Her use of masks at the end of the play is especially haunting. Clarisa Johnston’s props, though few in number, are inventive and impactful. Scaffold Theatre’s resident costume designer, Candice Bahe, helps deepen the feel of the ancient tale with her simple but elegant costume design. Technical director David Braithwaite, props by Clarisa Johnston, and Light Board/Sound Operator David Liechty round out Antigone’s excellent production staff.

I highly recommend you rush to see Antigone as this is a rare treat. It’s not often we see Greek tragedy produced and less often with such clarity, passion, and accessibility.

Great Salt Lake Fringe Festival and Scaffold Theatre present Antigone, By Julie-Anne Liechty.
Thursday Aug 4, 2022 7:30 PM; Friday Aug 5 6:00 PM; Sunday Aug 7 3:00 PM
124 400 W, Salt Lake City, UT 84101, The Box at Gateway Mall
Tickets $15
Contact: (323) 215-6350
Fringe Festival Facebook Page
Scaffold Theatre Facebook Page
Antigone Facebook Event

Front Row Reviewers

Front Row Reviewers

0 Comments

Submit a Comment

Your email address will not be published. Required fields are marked *

AlphaOmega Captcha Classica  –  Enter Security Code