Antigone
at Capistrano Valley

Reviewed on October 19, 2017

Haley Edwards
University
Submitted for publication to Orange County Register

Tragedy and Tyranny in Capo Valley's "Antigone"
written by Haley Edwards, a junior at University High School

Slowly, blue light illuminates a hunched, haunted girl and an evil king, surrounded by loved ones. Two narrators interrupt, thus opening the story of Antigone.

Based on Jean Anouilh's adaptation, Capistrano Valley High School's "Antigone" presents a tragic story of a girl desperate for her brother's proper burial, despite her uncle's decree. A struggle for power, a bond of love, and a sisterly relationship are torn apart in Antigone's quest for justice.

Cold and calculating, the picture of evil, Creon (Roberto Viveros) enters. Dragging his fingertips behind him across a table, demonstrating his ease and confidence in his role as king, his slow yet powerful walk carries him around Antigone (Valerie Sloan), circling like a shark ready to strike. His hard eyes and piercing gaze match his easy confidence completely assured in his reign.

With hunched shoulders and haunted eyes, Antigone (Valerie Sloan) berates her uncle. She begins small, hunched in on herself, arms crossed to protect her from evil. Fighting over her brother's burial, she unfolds, hands flying to express her anger and torso leaning forward on the offensive. Contrast between her timid, haunted state and her attacking state reveals her determination in her quest for justice.

Antigone's fiancé, Haemon (Jon Campisano) clasps her in his arms. Cuddling on the steps, his smooth, strong movements reassure her weak, anxious ones. He glides to her as she scoots away, his gaze resting on his beloved. His complete adoration and strong yet gentle reassurance effectively express his complete love for her.

With the passing of time, clock chimes pierce the air. These chimes, created and recorded by the sound crew themselves, led by Spencer Price, help ground the production. The sound penetrates, never-ending despite the actions on stage. These continued chimes are a reminder that time always continues, regardless of disaster.

Demonstrating the sisters' differences are Kayla Marck's hair designs. Antigone's hair is pulled back into a low ponytail with many fly-aways. The functional ponytail demonstrates Antigone is not prissy or proper, but instead a hard worker, needing it held back rather than displaying beauty. Ismene's hair, however, is pulled off her face and curled in ringlets. Her shiny curls frame her pale face, accentuating her beauty. The contrast between the styles suggests the difference in their roles.

Timeless and realistic, Capistrano Valley's "Antigone" represents an age-old quest for justice.

Lauren Lee
University
Submitted for publication to OC Cappies Facebook

Capo Valley's tragic tale of ‘Antigone' is tantalizing
written by Lauren Lee, a sophomore at University High School

A brilliant shade of periwinkle illuminates the cyclorama as actors, one by one, saunter onto stage, creating an illustrious tableau with their silhouettes. The opening scene of Capo Valley's "Antigone" sets the stage for the chilling Greek tragedy in which the decision of family or life leads to devastating outcome.

Antigone follows the timeless story of the illicit burial of Antigone's dead brother, carried out by Antigone herself, who puts her most prized relationships at risk for the price of her own beliefs.

The spotlight emerges onto Olivia Wolff and Garrett Vallejo, who duo up to make the Chorus, and are dressed in sleek, sophisticated business attire, compelling the audience with their forceful, commanding voices. These two characters narrate and observe the story in unity, using swift, clean movements as they maneuver through the motionless actors, bringing the traditional Greek theater aspect to life.

Valerie Sloan, as Antigone, embodies the defiant nature of her character as she scuffs around stage with her hunched shoulders and disheveled hair. Sloan thoroughly demonstrates her ruffled demeanor through a series of low power poses while conversing with Creon, played by Roberto Viveros, who passionately expresses his authority as King with wine in hand and frequent glances at the mirror.

A standout performance was given by Ethan Kron, who plays the minor role as the Messenger, as he stands on the edge of the stage, gazing off at the audience providing them with the aftermath of the characters after Antigone's fateful death.

The lighting, designed by Henry Dittrich, impactfully changes as time progresses, with blue hues signaling early morning, and a vibrant red indicating the daytime. The color red seems to be a reoccurring element in this show and appears at the climax of the story, as well as on the two banners that drape down the set, and on Creon's suit, implying his great power and vigor.

Antigone drives the story vested in a pale blue blouse, tucked into long neutral colored, high waisted slacks, which contrast greatly with her sister, Ismene's pink, feminine dress. Costuming, led by Ellie Mezak, gives distinction, and works to contrast each character, distinguishing their disposition is from one another.

Capo Valley's production of "Antigone" ambitiously displays the impact family and morals can have on your actions despite the consequences that may come with it.

Keely Yeargin
St. Margaret's Episcopal
Submitted for publication to OC Cappies Facebook

Greek tragedy revived at Capo Valley
written by Keely Yeargin, a junior at St. Margaret's Episcopal School

Red-white banners, emblazoned with a bold almost-swastika, tumble from the rafters. The scene is draped in blue and silence. A man stands, silhouetted. This is Capistrano Valley's "Antigone," an ancient tragedy of duty versus desire, god versus man, moral law versus civil law.

Antigone (Valerie Sloan), as she chooses between following the King's orders or giving her brother a proper burial, is all hunched shoulders and righteous anger as she fights to do what she believes is right. At first, Sloan plays Antigone as closed off, with a bowed and caved-in posture. It is only when she is indignant and enraged that she straightens with a furrowed brow, desperate and furious in her grief. Sloan's voice was booming yet ragged in turn, conveying the clear war within Antigone as she struggled to make her choice.

Roberto Viveros as Creon was like watching a jaguar, dressed almost entirely in black as he circled Antigone like she was prey. His menacing aura was palpable, going from speaking to shouting to speaking and back again in his long scenes with Sloan. Viveros was carefully controlled yet volatile, and certainly terrifying. His abrupt grab at Sloan's nape during a particularly taut scene only ratcheted the tension higher.

The Chorus (Olivia Wolff and Garrett Vallejo), the audience within the play, were exceptional; each with a clear voice, the Chorus were liminal figures, so in-sync one would think they were twins of fate. Both were composed and imperious, yet their words were still charged with emotion and judgement, finding an excellent balance.

The costuming crew, led by Ellie Mezak, crafted outfits that fit each actor and character, revealing allegiances and disposition. With pastel and practical pants and shirt, the only female in the cast dressed so, Antigone was shown to be rebellious and pragmatic. The colors assigned to Antigone directly contrasted with Creon, who was dressed almost entirely in black, excluding his red tie and handkerchief, which recalled the red of the blood he spilled and of the banners behind him. The Chorus was clothed in black and white—simple and objective, and apart from the characters on stage.

In Capo Valley's "Antigone," man tries to play god and is rebuked for it; a girl tries to save her brother and dies for it; civil law is rejected for moral law, and one is forced to question—who was right, and who was wrong?