Antigone Now
at Upper Dublin High School

Reviewed on November 5, 2021

Elena Milliken
Friends Select School
Submitted for publication to WordPress Site and Cappies Page

A city recovering from the grief and destruction of war. A pair of sisters struggling with loss. A ruler discovering what it means to lead. Antigone Now at Upper Dublin transformed a classic tale into an exploration of moral ambiguity.

Antigone Now, a modern retelling of Sophocles' Antigone, follows the once-royal titular character through the turmoil after her brothers' deaths. Her defiant decision to disobey sovereign Creon, her uncle, and bury her brother leaves the entire city to survey the damages.

Upper Dublin's rendition shined through its simplicity. With six actors that never left the stage, they were able to portray intimate relationships while capturing the movement of a whole city. In addition to the previously named characters, a three-person chorus integrated themselves with the set to underpin the story.

Benjamin Brown's portrayal of Creon perfectly captured the internal dispute of a new ruler with the airs of a well-trained politician. Brown grounded the performance with a quiet power that never left even when the focus shifted. Addy Deloffre as Antigone hooked the audience through her deep anguish and stirring performance.

Another riveting performance was that of Petra Kolar; her Ismene balanced a lovable dedication to her sister with her own grief. There was not a single moment of the show where the audience could not see Kolar's powerful talent. She brought an honesty and calmness to the role that played perfectly with Deloffre's Antigone. The chorus played by Katie Horton, Allison Chong, and Finn Anderson became the backbone of this show. Each had standout moments that highlighted their ability then they were able to seamlessly merge back into a group, demonstrating deep versatility as actors. The lines they shared were so in-sync and pointed that it really felt like the voice of the city.

Elyse Gonzales, Noa Sussan, and Timmy Tilson pulled off an impressive feat by fusing many sounds of a city together to encapsulate a place on the brink of collapse. Costumes and hair, courtesy of Virginia McCullough, added a striking depth to the characters, especially through the demise of Antigone. The distinct details put into the environments of Creon and Ismene further strengthened the audience's understanding of each character, highlighting Elyse Gonzales' grasp of her craft as Master Carpenter.

The cast of Upper Dublin's Antigone Now left the audience pondering the thought-provoking tale while in awe of the emotional vulnerability each actor brought to the show.

Malak Ibrahim
Upper Merion Area High School
Submitted for publication to WordPress Site and Cappies Page

Upper Dublin's Antigone Now was both compelling and captivating!

Based on Sophocles' Antigone, Antigone Now reimagines the classic as a contemporary adaptation in a dystopian Thebes. Antigone defies King Creon by burying her traitorous brother, Polyneices, and evokes dialogue about democracy and justice. As Antigone's submissive sister Ismene watches the chaos and bloodshed that ensues, the audience is taken on a fateful journey narrated by the Chorus.

Addy Deloffre (Antigone) held deep emotion behind her voice and actions throughout the production, enveloping theatergoers in her grief. Right by her side was Ben Brown (Creon), whose gait and politician-like mannerisms were a sight to behold. Brown's ability to project to the audience elevated the theatrical experience to a new level. Both Deloffre and Brown were able to interact with each other with intensity, most notably in the scene where Creon and Antigone clash over the burial of Polyneices.

Petra Kolar was outstanding in her role as Ismene. Throughout the show, she remained and the emotions she portrayed as Antigone died were heart-rending. Her tender and loving actions towards Antigone truly depicted their sisterly bond in a raw and human way. Not to be forgotten, Finn Anderson, Allison Chong, and Katie Horton (Chorus) narrated the production in an alluring fashion. There was not a moment where the Chorus was not synchronous, effortlessly nailing their shared lines and movements. Each member was able to simultaneously blend in as a whole but remain as separate individuals, which was no easy feat.

Upper Dublin's various technical crews brought polished and professional elements to the production, enhancing an already tremendous show. Though minimalistic, the set crew was able to produce a highly comprehensive set. From the graffiti art to the mismatched fabrics, each item was placed with intent and this dedication did not go unnoticed. The lighting throughout complemented the mood of each respective scene and was especially evident with the harsh, gray lighting at the end of the show. The sound crew hit their cues with ease and their sound choices transported spectators right into war-torn Thebes. Last but not least, the costumes and make-up for every cast member were spot on, including Creon's vibrant red suit, which stole the spotlight.

All in all, Upper Dublin managed to rejuvenate a centuries-old classic into a new life form, making the audience wish there was more to this short but captivating tragedy.

Aiden Kaliner
Harriton High School
Submitted for publication to Cappies Page

Thebes, a war-torn city, was destroyed by humanity's everlasting conflict: individual morals versus the law. Though it may seem like a dystopian fantasy, "Antigone Now" at Upper Dublin underscored the timeliness of love, power, death, and grief.

"Antigone Now," written by Melissa Cooper, is a post-war, modern adaptation of Sophocles' ancient Greek tragedy, Antigone. Cooper's plot follows the original: Antigone is conflicted by Creon's law, decreeing that burying her disgraced brother is punishable by death. Her decision to disobey leads to Antigone's demise. Though Cooper's adaptation condenses the cast, updates the dialogue, and places the story in a contemporary setting, elements of the original myth are still incorporated, such as the age-old question: how does one determine what is right and wrong?

With the cast on stage the entire production, each actor captivated the audience's attention. Specifically, the Chorus--consisting of Finn Anderson, Allison Chong, and Katie Horton-- spoke synchronously and with ease. Their poetic dialogue and physicality allowed for an understandable and enjoyable narration of the mythical tale. Typically represented by one actor, the Chorus trio rhythmically portrayed multiple roles, changing minute intonations and details to reflect each.

Commanding the stage with a bold and powerful presence, Benjamin Brown as Creon masterfully utilized his rhetorical monologues to resemble a seemingly stoic politician. Brown's portrayal in the final scene, after Antigone's death, deserved tremendous applause. The flip in his acting, from harsh to contemplative, satisfied Creon's character development perfectly. Earlier, his booming voice, filled with anger and disgust, provided the perfect opposition to Addy Deloffre's defiant Antigone, whose facial expressions exemplified the tense and tragic mood.

Among the supporting roles, Petra Kolar (Ismene) was a loving, warm, and sensible contrast to Deloffre. Most notably, Kolar's acting abilities shone in the melancholy. When Creon sentenced Antigone to death, Kolar evoked pity and fear, establishing a somberness permeating the rest of the production. A standout in the Chorus, Finn Anderson, invested himself in each role he portrayed. His transformations were nuanced yet quite noticeable, even adding comedic emphases into his dialogue to build character.

The UD Build + Paint Crew, in collaboration with props by Amelie Dunn, Seth Boas, and Carissa Shellenberger, effectively established the economic divide between the classes. By juxtaposing the outside world, littered with tattered fabrics and graffiti-covered sets, with Creon's pristine home, they conveyed the destructive effect of imbalanced power dynamics. Additionally, the live-streamed newscast during the climax, led by Special FX team Elyse Gonzales and Kiara Thompson, uniquely reimagined Antigone's death sequence while staying true to Sophocles' intentions of the action revolving around a public setting.

Beautifully modernizing the classic while paying homage to Sophocles, Upper Dublin's "Antigone Now" was a production that would certainly delight the gods.

Kyra Keenan
Upper Merion Area High School
Submitted for publication to Cappies Page

Breaking News! Upper Dublin's production of Antigone Now certainly put a new spin on one of Sophocles' infamous mythological tales!

Set in a modern, war-stricken rendition of the city of Thebes, Antigone Now features collapsed buildings, trash piles on the street, and ever-present graffiti. With King Oedipus blinded and banished, Creon takes the royal position after years of standing in the shadows. Creon's reign causes the people of Thebes to endure strict curfews, mandates, and laws. Yet, the young Antigone rebels against Creon's forces and sets out to bury her brother, Polyneices, who is seen throughout Thebes as a traitor. As Antigone balances on the fine line between morals and the law, her fate remains in her own hands

The stage was ruled by a talented group of six cast members whose stage presence filled the room. Throughout the play, each performer remained present on the stage. They were consistently in character, whether they were reacting to their surroundings or the speeches of other characters. Though the brutal war left dead bodies on the street, the performers left no dead-air!

The namesake of the show, Antigone, was portrayed by Addy Deloffre. The emotional range Antigone displayed was dynamic and, while difficult to capture, tackled head-on. Ben Brown opposed Antigone in his role of Creon. The new-founded king stood tall over his crumbling kingdom; each line was spoken with intention and passion, as if he was truly addressing his subjects. His performance brought the intensity of the show to a new level.

This show could not have been complete without the supporting cast. Petra Kolar, taking on the gentle role of Ismene, embodied an authentic sisterly bond with Antigone and the audience felt her hope, fear, and grief. Stealing the show were Finn Anderson, Allison Chong, and Katie Horton (Chorus) who stood out both as a cohesive group and as individuals.

Lighting was an important part of the production as dim and red lights set a dark mood. The most impressive technical feature of the play was a projected livestream: it portrayed a modern news broadcast, in which Antigone was facing her death. Other projections were used throughout the show to depict the crumbled city. The set design was excellent, as it included Ismene's room parallel from Creon's workspace, and the streets of Thebes.

Antigone was undeniably given another life during Upper Dublin's production of Antigone Now!