Antigone
at Mater Dei

Reviewed on March 10, 2018

Sophie Lindborg
Dana Hills (SOCSA)
Submitted for publication to Orange County Register

Mater Dei's "Antigone" provides a fight worth dying for
written by Sophie Lindborg, a senior at Dana Hills (SOCSA)

A timeless, truthful, and theatrical tragedy, Sophocles' "Antigone" at Mater Dei High School, unfolds the humanistic values of love, family, and sacrifice provoking one to willingly surrender their own life.

Kalusha Brutlag radiates zeal and tenacity as the fearless heroine, Antigone. She holds a deep-seated stare and defiant posture, knowing she will perish for the rebellion of honoring her brother's death. She is tender at the sight of her aching sister Ismene (Aria Buchanan), who quivers and gruesomely wails with tears streaming down her cheeks for the immense love and fear she feels for Antigone.

Portraying the poisonous tyrant and uncle to Antigone, Andrew Estrada is phenomenally ruthless as Creon. He brazenly condemns his niece for burying her brother with a stinging scorn and reverberating command, while his stiff shoulders broaden. His sovereignty, however, diminishes as he learns his fate from the brutally tortured blind prophet, Tiresias (Nick Van Dalsem). Van Dalsem, with clouded eyes and pained physique, delivers compelling articulation of the disastrous prophecy dooming Creon's family to tragedy as a result of his sacrilegious acts.

Son to Creon and fiancé to Antigone, Eddie Kerins admirably embodies the heart of Haemon. After his father wrathfully refuses to spare the life of his lover, Kerins collapses to the floor shielding his face with his arms as he wistfully weeps and shudders. Anguish engulfs his soul, as he takes his own life. The catastrophic news is spread to the Chorus Leader, Choragos (Natalie Smale) who remains aghast nodding ever so slightly at a loss of words, with a clenched jaw and somber brow.

Hair and Makeup by Daniella Arcila and Kiana Hernandez, charmingly mimic beauty standards of the 1940's through bright lips of red and pink, pin curls, and hair gel. The team also solidifies a sense of wartime realism through bloody scars, with usage of fake blood, scar wax, and spirit gum.

Costume Designers, Ava Walters and Lia Weed, superbly depict individualism from polished housewives, to sullied soldiers, and precise physicians. The earthy tones of brown, green, and black, dramatically encompass the hardships of war impacting how each character views one another.

With profound dedication to the prodigious works of student director, Stefania Giron, and consistent artistry of the cast and crew, Mater Dei's "Antigone" sparks the core truth that abiding by personal beliefs, is in turn worth any sacrifice.

Sophie Lindborg
Dana Hills (SOCSA)
Submitted for publication to Orange County Register

Mater Dei's "Antigone" provides a fight worth dying for
written by Sophie Lindborg, a senior at Dana Hills (SOCSA)

A timeless, truthful, and theatrical tragedy, Sophocles' "Antigone" at Mater Dei High School, unfolds the humanistic values of love, family, and sacrifice provoking one to willingly surrender their own life.

Kalusha Brutlag radiates zeal and tenacity as the fearless heroine, Antigone. She holds a deep-seated stare and defiant posture, knowing she will perish for the rebellion of honoring her brother's death. She is tender at the sight of her aching sister Ismene (Aria Buchanan), who quivers and gruesomely wails with tears streaming down her cheeks for the immense love and fear she feels for Antigone.

Portraying the poisonous tyrant and uncle to Antigone, Andrew Estrada is phenomenally ruthless as Creon. He brazenly condemns his niece for burying her brother with a stinging scorn and reverberating command, while his stiff shoulders broaden. His sovereignty, however, diminishes as he learns his fate from the brutally tortured blind prophet, Tiresias (Nick Van Dalsem). Van Dalsem, with clouded eyes and pained physique, delivers compelling articulation of the disastrous prophecy dooming Creon's family to tragedy as a result of his sacrilegious acts.

Son to Creon and fiancé to Antigone, Eddie Kerins admirably embodies the heart of Haemon. After his father wrathfully refuses to spare the life of his lover, Kerins collapses to the floor shielding his face with his arms as he wistfully weeps and shudders. Anguish engulfs his soul, as he takes his own life. The catastrophic news is spread to the Chorus Leader, Choragos (Natalie Smale) who remains aghast nodding ever so slightly at a loss of words, with a clenched jaw and somber brow.

Hair and Makeup by Daniella Arcila and Kiana Hernandez, charmingly mimic beauty standards of the 1940's through bright lips of red and pink, pin curls, and hair gel. The team also solidifies a sense of wartime realism through bloody scars, with usage of fake blood, scar wax, and spirit gum.

Costume Designers, Ava Walters and Lia Weed, superbly depict individualism from polished housewives, to sullied soldiers, and precise physicians. The earthy tones of brown, green, and black, dramatically encompass the hardships of war impacting how each character views one another.

With profound dedication to the prodigious works of student director, Stefania Giron, and consistent artistry of the cast and crew, Mater Dei's "Antigone" sparks the core truth that abiding by personal beliefs, is in turn worth any sacrifice.

Tyler Munro
Tesoro
Submitted for publication to OC Cappies Facebook

Honor and Hubris at Mater Dei's Antigone
written by Tyler Munro, a senior at Tesoro High School

The stage is dimly lit in conflicting reds and blues, a woman stands illuminated in the center, waves of anger, grief, and despair washing over her violently passionate face. Here is the culmination of contradictions and complexities in Mater Dei High School's World War Two version of "Antigone", a deep consideration of the self and morality amidst the aftermath of the fall of Oedipus.

Kalusha Brutlag marches across the stage as Antigone, head held high, following a personal sense of duty which bleeds a strength and purpose into every movement. Confronting Creon for her crimes, fear never crosses her face, which remains resolute, her shoulders back in defiance. Brutlag displays an impressive range, however, when she breaks down into hysterics, later, revealing the inner-turmoil and grief over the death of so many of Antigone's family members. Tears well up in her eyes, cutting across her cheeks as she erupts in fury over the violation of her brother's body.

Andrew Estrada's Creon is a balancing act of power and indecision, a conflict which electrifies his every action. Estrada looms over Brutlag's Antigone as he confronts her, conveying his sense of domineering superiority. Yet, when he stands watching her break down before him, a sense of unease falls over his once concrete stance, a doubt having crept into his mind.

Stefania Giron's direction presents a clear vision strongly manifested in many creative elements. There is a focus on power and control. Creon is seen in the background of a scene fixing a crooked wall decoration in his office, an office which will be ransacked as he learns of Antigone's treason. This simple, but effective tactic easily transmits the message of lost power and control.

Set design by Louis Di Bernardo, Andrew Park, and Lia Weed allows for the play of power dynamics and complex situations. Multi-leveled platforms create space for revealing tableaus, such as placing Creon above Antigone as he grills her over her crimes, emphasizing a disparity in their stature. These platforms, extending beyond the proscenium, allow for the staging of events in the foreground and background simultaneously, adding fascinating layers to the production.

At what point should one give up on their convictions for something larger? At what point should one ignore the accepted to honor their ideals? These are the lingering questions posed by Mater Dei High School's powerful production of "Antigone."

Tyler Munro
Tesoro
Submitted for publication to OC Cappies Facebook

Honor and Hubris at Mater Dei's Antigone
written by Tyler Munro, a senior at Tesoro High School

The stage is dimly lit in conflicting reds and blues, a woman stands illuminated in the center, waves of anger, grief, and despair washing over her violently passionate face. Here is the culmination of contradictions and complexities in Mater Dei High School's World War Two version of "Antigone", a deep consideration of the self and morality amidst the aftermath of the fall of Oedipus.

Kalusha Brutlag marches across the stage as Antigone, head held high, following a personal sense of duty which bleeds a strength and purpose into every movement. Confronting Creon for her crimes, fear never crosses her face, which remains resolute, her shoulders back in defiance. Brutlag displays an impressive range, however, when she breaks down into hysterics, later, revealing the inner-turmoil and grief over the death of so many of Antigone's family members. Tears well up in her eyes, cutting across her cheeks as she erupts in fury over the violation of her brother's body.

Andrew Estrada's Creon is a balancing act of power and indecision, a conflict which electrifies his every action. Estrada looms over Brutlag's Antigone as he confronts her, conveying his sense of domineering superiority. Yet, when he stands watching her break down before him, a sense of unease falls over his once concrete stance, a doubt having crept into his mind.

Stefania Giron's direction presents a clear vision strongly manifested in many creative elements. There is a focus on power and control. Creon is seen in the background of a scene fixing a crooked wall decoration in his office, an office which will be ransacked as he learns of Antigone's treason. This simple, but effective tactic easily transmits the message of lost power and control.

Set design by Louis Di Bernardo, Andrew Park, and Lia Weed allows for the play of power dynamics and complex situations. Multi-leveled platforms create space for revealing tableaus, such as placing Creon above Antigone as he grills her over her crimes, emphasizing a disparity in their stature. These platforms, extending beyond the proscenium, allow for the staging of events in the foreground and background simultaneously, adding fascinating layers to the production.

At what point should one give up on their convictions for something larger? At what point should one ignore the accepted to honor their ideals? These are the lingering questions posed by Mater Dei High School's powerful production of "Antigone."

Carson Preusse
Tesoro
Submitted for publication to OC Cappies Facebook

Mater Dei's "Antigone" is filled with passion and purpose

As sirens scream and lights flare, several different wordless depictions of life unfold, setting up the tragic story of a girl seeking justice for her dead brother by burying him, despite her uncle's law against it. Mater Dei's "Antigone" is set in the 1940s as a reminder that this story is a timeless reflection on the struggle for power.

Throughout the show, Antigone (Kalusha Brutlag) and her uncle, Creon (Andrew Estrada) constantly contrast each other. Brutlag conveys a constant type of control in her voice, actions, and expressions for the bulk of the show, so when she finally snaps, her sincerity and passion about her uncle's unfair actions are very believable. Estrada encompasses the stubborn Creon by grounding his feet, never budging for anyone. A constant boom in his voice never fails to intimidate his citizens as he demands respect. In the scene before Creon orders his guards to lock Antigone away, Brutlag delivers her final words with a now wavering voice, looking around at the citizens to see her impact on them. Estrada, however, looks around at the citizens with an expression of self doubt, and from that point on he uses a softer tone to show his character becoming more aware of his unjust actions.

Nick Van Dalsem portrays the blind prophet, Tiresias. As he delivers his lengthy prophecy to Creon, his struggle to remain calm is apparent when the volume of his voice begins to rise. As he "stares" into the distance, his voice intensifies until he finally snaps, turning face to face with Estrada as if he was looking him in the eyes, effectively getting his point across in a chilling way.

The set design, by Louis DiBernardo, Andrew Park, and Lia Weed, created symbolism in the contrast between order and chaos. Upstage is Creon's orderly office, and downstage is a sea of platforms at different levels symbolizing a messy battlefield, where more of the scenes symbolizing a power struggle occur. This design brings an interesting aspect of order and chaos into the performance.

Mater Dei's passionate cast tells the timeless story of "Antigone" with a series of powerful moments to prove that the struggle for justice and power will always be present.

Carson Preusse
Tesoro
Submitted for publication to OC Cappies Facebook

Mater Dei's "Antigone" is filled with passion and purpose

As sirens scream and lights flare, several different wordless depictions of life unfold, setting up the tragic story of a girl seeking justice for her dead brother by burying him, despite her uncle's law against it. Mater Dei's "Antigone" is set in the 1940s as a reminder that this story is a timeless reflection on the struggle for power.

Throughout the show, Antigone (Kalusha Brutlag) and her uncle, Creon (Andrew Estrada) constantly contrast each other. Brutlag conveys a constant type of control in her voice, actions, and expressions for the bulk of the show, so when she finally snaps, her sincerity and passion about her uncle's unfair actions are very believable. Estrada encompasses the stubborn Creon by grounding his feet, never budging for anyone. A constant boom in his voice never fails to intimidate his citizens as he demands respect. In the scene before Creon orders his guards to lock Antigone away, Brutlag delivers her final words with a now wavering voice, looking around at the citizens to see her impact on them. Estrada, however, looks around at the citizens with an expression of self doubt, and from that point on he uses a softer tone to show his character becoming more aware of his unjust actions.

Nick Van Dalsem portrays the blind prophet, Tiresias. As he delivers his lengthy prophecy to Creon, his struggle to remain calm is apparent when the volume of his voice begins to rise. As he "stares" into the distance, his voice intensifies until he finally snaps, turning face to face with Estrada as if he was looking him in the eyes, effectively getting his point across in a chilling way.

The set design, by Louis DiBernardo, Andrew Park, and Lia Weed, created symbolism in the contrast between order and chaos. Upstage is Creon's orderly office, and downstage is a sea of platforms at different levels symbolizing a messy battlefield, where more of the scenes symbolizing a power struggle occur. This design brings an interesting aspect of order and chaos into the performance.

Mater Dei's passionate cast tells the timeless story of "Antigone" with a series of powerful moments to prove that the struggle for justice and power will always be present.