Sophocles may be long gone, but his tragic tale of honor and
fidelity is very much alive in Big Dance Theater’s funky,
experimental reinterpretation “Antigone the tin can tied to
her own damn tail,” opening tonight at the Freud
Playhouse.
Playwright Mac Wellman takes “Antigone” to the
beginning of time, recounting the tale through the eyes of the
three Fates. Through recollection, the Fates fragmentally
experience the play in different times and orders. Finally, the
Fates undergo a physical transformation into the three Graces
resulting from the effect Antigone has on them.
“In some kind of fun way Sophocles has passed this play
down to us, and now we’re putting it through our blender to
make it reflect modern times,” said Annie-B Parson,
co-director and choreographer. “It’s a very eclectic
and disjointed play that gets its nature from the fragmented style
the play is written in.”
Set against fake Doric columns lined with rubber tires at the
top and bottom, the play is a mind-boggling event that aims to show
audiences the fundamental history of “Antigone” and the
story’s place in today’s society.
“It’s a hard play to follow because it doesn’t
occur in a linear plot pattern,” said Paul Lazar,
co-director. “The atmosphere of the play catches the
audience’s attention and makes them sit up; there’s a
way that the fragmentation can be exhilarating and a way that
audience members can experience numerous emotions from sadness to
humor.”
Dressed in unique garb comprised of a Korean jacket and pleated
Greek warrior skirts, the three Fates step into this journey of
development from bitter old women playing mundane roles to the
three Graces.
“The transformation of the Fates into the Graces is a
direct result of the effect of the story of Antigone,” said
Lazar. “The tragedy of “˜Antigone’ lies in the
fact that there are limitations ““ in language especially
““ and when the Fates recognize their power to go beyond their
limitations of language into a larger realm of expression, such as
dance, they transform.”
According to Parson, the transformation into a new, more
realized and awakened being can only be accomplished through dance.
Early in the performance, the Fates’ dances are based on faux
Greek dancing, passed down from Greek myths and inspired by Greek
music, but are performed to an array of music, including Chinese
pop songs.
“When the Fates transform themselves into the Graces, a
great choreographically inspired feat takes place,” said
Parson. “This dance, a version of folk dancing with a
postmodern edge to it, focuses on more round movements where the
Fates actually spin themselves into new beings. Here, we use more
heavenly music by utilizing string instruments that fully convey
the divine transformation.”
Definitely a more extreme and unorthodox portrayal of the play,
according to Lazar, the play aims to give audience members a more
cerebral examination of what we as humans consider reality, and
what reality actually is.
“In today’s society we are basing arguments, that
can have life and death consequences, on the grounds of
reality,” Lazar said. “But we have to remember, just as
in “˜Antigone,’ that reality’s grounds are shaky,
and our thinking is confined by our limitations.”
Though it may seem a little off-the-wall at first with its
setting and characters dressed in multiethnic costumes, the
performance was created so that audience members would walk away
thinking about limitations and decisions in a different way.
“This is the kind of play that you can’t pass
judgment on until you’ve seen it,” said Parson.
“We want people to come in with an open mind and let
themselves be taken on this ride and see where they end
up.”
THEATER: “Antigone” will be performed at
UCLA’s Freud Playhouse Feb 27 – Mar 2. Performances are at 8
p.m. on Thursday through Saturday and at 7 p.m. on Sunday. Tickets
are $15 for students and $35 for general admission and can be
purchased at the Central Ticket Office. For more information,
please call (310) 825-2101.