Review: The Voodoo Chalk Circle (State Theatre Chicago)

  
  

Brecht adaptation successfully unearths New Orleans of old

  
  

Sarah Addison Ely, Ellenkate Finley, Alexis Randolph, Genevieve Lally-Knuth in a scene from State Theatre's 'Voodoo Chalk Circle'

   
State Theatre presents
  
The Voodoo Chalk Circle
  
Adapted by Chelsea Marcantel
Based on the original play by
Bertolt Brecht
Music by
Chris Gingrich and Henry Riggs
Directed by Tim Speicher
at the Viaduct Theatre, 3111 N. Western (map)
through May 8  |  tickets: $10-$20  |  more info

Reviewed by Jason Rost

There was a unique and fascinating collaboration that occurred between two small theatre companies this year. The “Full Circle Festival” may have unfortunately fallen off the radar for many theatergoers; however, it began with Theatre Mir’s powerfully resonant production of Bertolt Brecht’s The Caucasian Chalk Circle (our review ★★★★). Now, the State Theatre has given us the wonderful opportunity to revisit this story in a new light with Chelsea Marcantel’s New Orleans set adaptation, The Voodoo Chalk Circle. Marcantel has been an up and coming playwright in Chicago for a few years, and this may be her most ambitious and successful endeavor to date. Tim Speicher’s intelligent and creative direction creates a captivating visual and aural experience that is heavy on theatrics and light on political Brechtian alienation. After experiencing Theatre Mir’s substantial production, this abridged retelling is a fresh and exciting compliment.

A scene from State Theatre's 'Voodoo Chalk Circle'Before the play begins, the multi-talented Nick Demeris warms up the crowd as a street performer, similar to those that frequented the tourist areas of pre-Katrina New Orleans. We are then catapulted into a pre-hurricane New Orleans by our narrator, Josh Hambrock. He introduces us to Grusha (Ellenkate Finley) on her 21st birthday, which is being celebrated at a downtown nightclub on the eve of an encroaching hurricane. As opposed to Brecht’s Grusha, who is the servant to a governor, Marcantel perfectly casts her as the servant to the mayor of New Orleans’ wife, Nathalie (a strong performance by Jodi Kingsley). Playing her opposite is Simon (Caleb Probst), who proposes marriage on that evening. After her night out, Grusha returns to the boarded up mansion where she resumes her duties as the surrogate mother to the infant son, Michael, of the neglectful mayor’s wife.

And then there’s the storm. Speicher and music director, Chris Gingrich create an ingenious cacophony of sound, utilizing the evocative Sound Chorus. Combining crashing sheets of metal, jugs of water, wind vocalizations and drumming, the sense of calamity is created magnificently. During the post-storm, Grusha, along with Nathalie’s forgotten baby, flee for the suburbs of the North Shore seeking refuge with her sister. Instead, she finds what is essentially a Voodoo commune living in the ruins. They have rendered rebuilding pointless and have embraced the ways of “the old.” Their leader is the morally ambiguous Baron Samedi (played by Mark Viafranco with remarkable physicality and dexterity). Her sister does finally appear, now reborn into this ancient religion as Erzulie (Cara Olansky). Olansky is compelling in her performance as a woman who has lost everything and has turned, as often people do after traumatic events, to religion. However, Olansky gives us glimpses of loss and grief behind the stone face of a religion that celebrates the eternal, rather than mourns death.

Although engaged to Simon, Grusha agrees to be wed for security reasons to Zeke (Zachary Kropp), a man who appears to have been crippled from a roof collapse. Kropp gives a somewhat unconvincing performance, and the true motives of the character remains vague. However, for utilitarian purposes, the character serves the plot well during Simon’s discovery of Grusha living a life he had not expected to find her in. The final chalk circle scene remains faithful to Brecht’s original text, yet is modified just enough to allow for the ending to carry a certain element of surprise.

While there is strong acting and talent throughout, the casting could benefit from more diversity in ethnicity and age to truly provide the authenticity of New Orleans. Overall, the cast plays slightly on the younger side for a play focused on old traditions. Nevertheless, formidable performances are given by Finley and Probst. Hambrock is engaging as part Our Town Stage Manager: floating in and out of the world of the play, omnipresent, setting scenes and introducing characters—and part Orson Welles in The Third Man: revealing his true function as the judge of morality only in the final act, playing Brecht’s “walking contradiction”, Azdak.

Marcantel’s script is entirely worthy of this fine production. She has found an appropriate contemporary setting for this story and carries the action briskly with high stakes. She perhaps misses an opportunity to connect to Brecht’s original play further due to the fact that she treats the hurricane solely as a natural disaster without examining the political catastrophe in the city more in depth. Whereas Brecht’s war of rebellion was more concerned with the manmade cycle of oppression and corruption, the hurricane in Marcantel’s adaptation is rather “Oz-ian”, a dramatic tool in the form of a catastrophe turning the world upside down. I was also left wondering why Marcantel goes to great authentic lengths in setting this story richly in New Orleans, yet never quite goes as far as referencing New Orleans, Katrina or any other specifics directly. It’s possible some immediacy was lost with this decision. Her dialogue is best in the earlier sections of the story discussing class struggles and Voodoo practices, but falls slightly flat in the oversentimentality of the Grusha and Simon love story.

In the end, it is Speicher’s concept, the emergence of the past from the ruins of modernity, which makes this play a must-see. He truly understands the ritualistic nature of Marcantel’s setting. Gingrich and Riggs’ music is a driving force of nature throughout the play. The Sound Chorus serves as the spiritual voice and heartbeat of old traditions made anew. Shaun Renfro’s set design condenses the action to an intimate section of the barn-like Viaduct space by the use of hundreds of cardboard boxes, reminiscent of essentials that were airdropped to Katrina survivors. In addition, Renfro creates an ingenious playground of set pieces that allow for interaction with the actors. Taylor Bibat’s shadow puppetry represents the concept perfectly by providing an ancient theatrical tradition as opposed to video projections.

The final monologue Marcantel writes for Azdak is poetic and resonant stating, “It’s hard to see how everything comes together, until everything falls apart.” While this production soars, I am left hoping that Marcantel may continue to develop the script into a full adaptation finding more parallels and urgency in the injustice that occurs in the aftermath of natural disasters. It is of high compliment that I wished to spend even more time with these characters and in this world Marcantel has transplanted them to—nevertheless, it is immediately an important piece of theatre this season that should not be overlooked.

  
  
Rating: ★★★
  
  

The Voodoo Chalk Circle presented by State Theatre Chicago

The Voodoo Chalk Circle continues at The Viaduct through May 8th, with performances Thursdays, Fridays, and Saturdays at 7:15pm and Sundays at 3pm. Running time is 1 hour and 45 minutes with no intermission. Tickets are $10-$20, and can either be purchased online or by calling (773) 296-6024.  For more information, visit www.statetheatrechicago.com.

The Voodoo Chalk Circle is part of the “Full Circle Festival” in collaboration with Theatre Mir to provide audiences with two uniquely different versions of Brecht’s The Caucasian Chalk Circle. The State Theatre closes the festival following Theatre Mir’s production of The Caucasian Chalk Circle directed by Jonathan Berry.

 

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Top 10 Chicago shows we’re looking forward to this spring

Chicagoskylinefromnorth

 

Top 10 shows to see this spring!

 

A list of shows we’re looking forward to before summer

 

Written by Barry Eitel

March 20th marked the first day of spring, even if it feels like winter hasn’t loosened its grip at all. The theatre season is winding down, with most companies putting up the last shows of the 2010/2011. Over the summer, it would seem, Chicagoans choose outdoor activities over being stuffed in a hot theatre. But there is still plenty left to enjoy. The rising temperatures make leaving your home much more tempting, and Chicago theatre is ending the traditional season with a bang. Here, in no particular order, are Chicago Theatre Blog’s picks for Spring 2011.

 

   
Goat or Who Is Sylvia 001
The Goat or, Who Is Sylvia?

Remy Bumppo Theatre
March 30 – May 8
more info

Playwright Edward Albee has gotten a lot of love this year, with major productions at Victory Gardens and Steppenwolf (for the first time). The season has been a sort of greatest hits collection spanning his career, including modern classics like Zoo Story, Who’s Afraid of Virginia Woolf? and Three Tall Women. Remy Bumppo ends their season with some late-period Albee, but The Goat never skimps on Albee’s honest dysfunction. In the 1994 drama, Albee takes a shockingly earnest look at bestiality, and questions everything we thought about love.


      

Porgy and Bess - Court Theatre - banner


Porgy and Bess
 

Court Theatre 
May 12 – June 19
more info

Musical-lovers have a true aural feast to enjoy this spring. Following their mission to produce classics, Court produces the most well-known American opera, Porgy and Bess. George Gershwin’s ode to folk music is grandiose, inspirational, and not without controversy. But the show, telling tales about African-American life in the rural South, features brilliant music (like “Summertime,” which has been recorded by such vastly different performers as Billie Holiday and Sublime). Charles Newell, Ron OJ Parsons, and an all-black cast will definitely have an interesting take on one of the most influential pieces of American literature.


           
Front Page - Timeline Theatre Chicago - logo
The Front Page
 

Timeline Theatre  
April 16 – June 12
more info

For their season closer, TimeLine Theatre selected a 80-year-old play with deep Chicago connections. Ben Hecht and Charles MacArthur were well known journalists, reporting on the madness that was the Jazz Age. They turned their life into a farcical romp, The Front Page, which in turn served as the inspiration for the Cary Grant vehicle “His Girl Friday”. The play centers around several hardened newsmen as they await an execution; of course, things don’t go as planned. Along with loads of laughs, TimeLine provides an authentic Chicago voice sounding off about a legendary time.


     
Peter Pan - Chicago Tribune Freedom Center
Peter Pan

Broadway In Chicago and threesixty° entertainment
at Chicago Tribune Freedom Center (675 W. Chicago)
Begins April 29
more info

Imported from London, this high-flying envisioning of the J.M. Barrie play should cause many jaws to drop. We’ve seen high school productions where the boy who never wants to grow up flies around on wires (leading to some disastrous videos on Youtube). Threesixtyº’s show has flying, but it also has three hundred and sixty degrees of screen projections. Already a smash across the pond, this will probably be one of the top spectacles of the decade. WATCH VIDEO


     
Woyzeck - Hypocrites Theatre - banner
Pony - About Face Theatre - banner

Woyzeck
and Pony  

at Chopin Theatre
The Hypocrites and About Face Theatre 
in repertory April 15 – May 22
more info

I’m not exactly sure if Georg Buchner’s unfinished 1830s play can support a whole city-wide theatrical festival, but I’m excited to see the results. The Oracle Theatre already kickstarted the Buchner love-fest with a well-received production of Woyzeck directed by Max Truax. Now Sean Graney and his Hypocrites and a revived About Face get their chance, along with numerous other performers riffing on the play. Pony offers a semi-sequel to Woyzeck, tossing together Buchner’s characters with others in a brand new tale. The Hypocrites offer a more straightforward adaptation to the play. Well, straightforward for the Hypocrites. I’m sure their white-trash-avant-garde tendencies will make an appearance, and I’m sure I’ll love it. (ticket special: only $48 for both shows


     
American Theatre Company - The Original Grease
The Original Grease

American Theatre Company 
April 21 – June 5
 more info

American Theatre Company ends their season with a major theatrical event—a remount of the original 1971, foul-mouthed version of Grease. Before Broadway producers, Hollywood, and John Travolta cleaned up the ‘50s set musical, “Summer Nights” was “Foster Beach.” The story of this production is probably as interesting as the actual show, with lost manuscripts and brand new dialogue and song.


       
Voodoo Chalk Circle - State Theatre
The Voodoo Chalk Circle

State Theatre 
April 9 – May 8
more info

This month, Theatre Mir already took a highly-acclaimed stab at this intriguing piece of Brecht, which tears at Western views of justice. In true Brechtian style, the State’s production is shaking the narrative up, transferring the story from an Eastern European kingdom to a post-Katrina New Orleans, where law and order have broken with the levee. We’ll see if Chelsea Marcantel’s adaptation holds water, but she has plenty to pull from, including the region’s rich folk traditions and the general lawlessness seen after the storm.   WATCH VIDEO


         
hickorydickory - chicago dramatists - banner Hickorydickory

Chicago Dramatists 
May 13 – June 12
more info

To welcome spring, Chicago Dramatists will revisit one of their own, the 2009 Wendy Wasserstein Prize-winning Marisa Wegrzyn. Directed by artistic director Russ Tutterow, the darkly whimsical piece imagines a world where everyone has a literal internal clock that ticks away towards our demise. What happens when someone breaks their clock? Through a very odd window, Wegrzyn looks at tough, relevant questions.


     
Next to Normal - Broadway in Chicago - banner
Next to Normal

Broadway in Chicago 
at Bank of America Theatre 
April 26 – May 8
more info

The newly-minted Purlitzer Prize winner, Next to Normal rolls into town on its first national tour, three Tony Awards in hand.  Alice Ripley, who received the 2009 Tony Award for Best Actress in a Musical, will reprise her acclaimed performance at the Bank of America Theatre on Monroe. Contemporary in sound and subject matter, the work explores the effects of a mother’s bi-polar disease exacerbated by her child’s earlier death, Next to Normal will no doubt be anything close to normal for Chicago audiences.    (watch video)


     
White Noise - Royal George
White Noise

Royal George Theatre 
April 1 – June 5
more info

Like Next to Normal, the new White Noise promises to take the usually vapid rock musical genre and stuff it with some tough issues. A show focusing on an attractive female pop duo with ties to white supremacy? It ain’t Rock of Ages, that’s for sure. Produced by Whoopi Goldberg, Chicago was chosen as the show’s incubator before a Broadway debut. Perhaps the premise may overwhelm the story; either way, White Noise is going to inspire conversations.     [ Listen to the Music ]

  
  

REVIEW: A Crowded House (State Theatre of Chicago)

   
   

Inside each room lies a literary genius gasping for breath

 

State Theatre - A Crowded House - Image

  
State Theatre presents
  
A Crowded House
   
Adapted from a collection of Virginia Woolf novels
Directed by Lisa Siciliano and Tim Speicher
at
Gunder Mansion, 6219 N. Sheridan (map)
through November 13  |  tickets: $12  |  more info

Reviewed by Paige Listerud

That Virginia Woolf created anything is a testament to her drive, razor-sharp intelligence and prolific, intense imagination. That her work emerged as a leading voice in Modernism, despite immense social and mental health obstacles, is nothing less than incredible. Being raised in an ultra-literate Victorian household certainly gave Woolf the educational foundation on which to succeed, but recurring nervous breakdowns and perennial depression plagued her from adolescence.

A bit of hallmark Victorian shame and silence, especially regarding mental illness, swathes and muffles the rough sketch of Virginia Woolf (Casey Searles) that is A Crowded House; but that tactic seems only appropriate. State Theatre selected the period perfect Gunder Mansion to present her life, through her work, en promenade. While I’ve seen other theater companies defeat themselves with that sort of set up, State Theatre fulfills their mission with great poetry. One is almost overwhelmed by the production’s impressionistic simplicity and also its meticulous attention to detail. Not one, but eight playwrights sculpt the miniature dramas that take place in each room and each room represents one of Woolf’s novels. But more than that, like Woolf’s novels, each room becomes a moment in time or a place in the mind, a A Crowded Room - State Theatre - posterthought or emotion that exists to be revisited. Mrs. Dalloway (Catherine Bullard) is our guide; Woolf’s perfect hostess, hosting the tour of her creator’s mind—another nice bit of turnabout.

Co-directors Lisa Siciliano and Tim Speicher succeed in truly breaking down barriers between audience and cast by establishing each character immediately. “The Voyage Out” by Lisa Siciliano throws the audience into the middle of a wedding party celebrating Virginia and Leonard’s nuptials, as well as the publication of Virginia’s novel by the same name. While a tactic like that can feel stagy, it’s surprising how quickly one acclimates to their eccentric, literary milieu. Outrageous Lytton Strachey (Zach Kropp) and Clive Bell (Caleb Probst) dominate the social scene–poor, sweet Leonard (Joe Zarrow) rendered quite meek and unadorned in their company.

But one quickly realizes, by inference, the critical if quiet role that Leonard plays in Virginia’s life and work. “Night and Day” by Rob Smith drives home the monstrous arrangement between Virginia and her half-brothers. George and Gerald Duckworth, who molested both Virginia and her sister Vanessa after their mother’s death, control the publication of her works—at least until Leonard sets up an independent press to produce them instead. Likewise, in “Mrs. Dalloway” by Greg Edwards, Leonard becomes protective of Virginia when the party celebrating the publication of her novel breaks down entirely. The frenzied self-absorption of their guests and the pressure to be all things—great writer, great hostess—finally gets to Virginia.

The perpetual fragility of Virginia’s mental state is the running thread behind each play—in ways large and small A Crowded House attempts to unravel the reasons behind Woolf’s eventual suicide. Indeed, one whole room is devoted to Virginia’s mentality. Even the erotic reverie that is “Orlando” by Lisa Siciliano, regarding Woolf’s affair with Vita Sackville-West (Cara Olansky), centers on Virginia’s isolation from everyone—even the lover closest to her.

Obviously, this is not the whole Virginia Woolf. State Theatre runs the risk of portraying her as just another woman writer, fulfilling the “madwoman in the attic” stereotype. At the same time, Casey Searles is at her best in Virginia’s final act. All that the woman wanted to do was write, but mental illness was stripping that away from her. All that can be offered in reply is silence. The gorgeous shadow puppetry of Tim Speicher’s “Between the Acts” gives us that silence . . . and wonder . . . and beauty.

While one might wish for other, more diverse elements of Woolf’s life and work to be fleshed out, A Crowded House is one to see.

   
   
Rating: ★★★
        
   

 

REVIEW: Talk Radio (State Theatre)

Small storefront ends its inaugural season with a roar

 

State Theatre - Talk Radio - Production Image 1

   
State Theatre presents
   
Talk Radio
   
Written by Eric Bogosian
Directed by Ross Matsuda
at
Heartland Studio Theater, 7016 N. Glenwood (map)
through August 15th   | 
tickets: $10-$20  |  more info

reviewed by Keith Ecker 

When Eric Bogosian’s Talk Radio premiered in 1987, shock jocks and morning zoo crews dominated the air waves. You couldn’t drive to work without some knucklehead on the dial making crass jokes or belittling his audience. It was sadism and masochism at its most commercial.

Today, the market has changed, but unfortunately not for the better. Radio—now competing for attention with television and the Internet—is threatened to become a relic of the past. And so, to survive, it has tweaked its format. Many of the shock jocks and zoo crews of yesterday couldn’t adapt. But some have evolved into a new beast that is even more vile and wretched than a thousand Howard Sterns. That’s right. The talking head. The political pundit. The Glenn Beck.

State Theatre - Talk Radio - Production Image 2 The play’s antihero is of this Glenn Beck ilk minus the religious piety but with the need to belittle, fear monger and win every argument intact. His name is Barry Champlain (Nathan Randall), and he’s a Cleveland late-night DJ, who as of tomorrow will be going national.

We get a sneak peak into a charged episode of the show. Callers include a 15-year-old pregnant girl whose deadbeat boyfriend skipped town, a woman who is deathly afraid of her garbage disposal and a teenaged burnout whose girlfriend may or may not have just suffered a drug overdose.

Intermittently, between this string of callers, we get a sneak peak inside Barry’s psyche. His colleagues provide brief monologues that detail their relationship with Barry, revealing a confused and deeply disturbed individual who has turned his back on himself only to recede further into the depths of dementia.

As caller after caller chimes in with another fear, question or inane statement, Barry becomes increasingly agitated. Slowly, the radio host begins to question himself and his audience. Is he an entertainer or a public servant? Is he part of the solution or the mouthpiece for the problem?

Talk Radio is only as good as your Barry Champlain. And the State Theatre has found an amazing Champlain in Randall. His performance is unwavering in its callousness and coldness. His eyes are fiery with a flame that is at once both outwardly searing and self-engulfing. This is a character who is consumed by himself, and whose self-vitriol is projected out to millions of listeners. He is not a likeable character, and Randall doesn’t make you like him. But Randall does make you believe in him; that he is real and right in front of you and that you should hate him. And I hated him, which is why I loved Randall’s performance.

The supporting actors all do good work, and Tyler Ravelson, who plays the stoner teenager Kent, deserves to be spotlighted. Growing up in suburbia, I’ve seen my share of dopey doped up teenagers, and I can say that Ravelson’s portrayal is a carbon copy. In addition, there is such a smoothness to his performance, so much so that when Kent suddenly commandeers the in-studio mic, it feels spontaneous and unscripted.

State Theatre - Talk Radio - Nathan Randall and Tyler Ravelson

The production’s only drawback is the play’s use of a video feed during the first half. Rather than sticking with voiceovers for callers, the play’s director, Ross Matsuda, decided to go with a Webcam feed projected on a translucent screen behind Barry. The images are a distraction from the callers’ words, and as an audience member, I want to use my imagination to envision Barry’s listeners.

In a world of 24-hour news cycles that merge editorial with opinion, that live by the motto “If it bleeds, it leads,” that serve less to inform and more to threaten, Talk Radio is a highly relevant piece of drama. Who knows? You may even find some solace in the play because, although Barry Champlain might not embody the solution, his existence at least reveals that others out there know there’s a problem.

   
   
Rating: ★★★½
   
   

Extra Credit:

Theater Thursday: Talk Radio (State Theatre at Heartland)

Theater Thursday

 

Thursday, July 29

Talk Radio   by Eric Bogosian

The State Theatre of Chicago at Heartland Studio, 7016 N. Glenwood Ave

talkradioVisit the Heartland Studio for a radical re-imagining of Eric Bogosian‘s Pulitzer-Prize nominated play, Talk Radio. Then stick around immediately following the performance for a discussion with the director, cast, and Artistic Director. Light refreshments and drinks will be provided. Talk radio host Barry Champlain is a relic of an analog age, on the verge of a deal for national syndication. Tonight, not only is he under assault from many callers-in, but he also has digital communication thrust upon him. Bogosian meets Orwell in this commentary on the media.

Show begins at 8 p.m.   Event begins immediately following the performance

Tickets: $20    For reservations visit www.statetheatrechicago.com.

   
   

REVIEW: AjaxAntigone (The State Theatre)

State Theatre brings guts and talent to successful production

Ajaxantigoneproductionstill1of11

The State Theatre presents:

AjaxAntigone

By Sophocles
Adapted by
Tim Speicher and Ross Matsuda
Directed by Tim Speicher
at St. Peter’s Episcopal Church, 621 W. Belmont
through April 3rd
(more info)

review by Barry Eitel

The men and women that put together The State Theatre, a company that delivered their first ever production just last year, radiate ambition. It is ballsy choice for a brand new theatre company to tackle anything Greek—the Classics are some of the best-known dramas of all time, and they can really, really suck if done poorly. But as if Production stills from the play "Ajaxantigone" putting up just one millennia-old play wasn’t a big enough risk, adapter/artistic director Tim Speicher mashed-up two Sophoclean tragedies. With the straightforward title AjaxAntigone, Speicher’s amalgamation shreds up and stitches together SophoclesAjax and Antigone. With anything this daring there is bound to be hiccups and missteps, but the State’s bravado pays off and solidifies the company as a powerful new voice in Chicago theatre.

This isn’t some ancient version of those crossover episodes of CSI where one team travels to another’s city; Ajax never officially meets Antigone. Both stories are told concurrently, with a lot of thematic overlap. Antigone, if you recall, is one of the first obstinate teenagers in literature, disobeying the laws of the king in order to bury the body of her dishonored brother. Ajax is a more obscure play that revolves around the warrior Ajax, hero of the Trojan War. Basically, he slaughters some innocent livestock in a stroke of madness and then has to deal with the consequences. Speicher’s creation cuts, pastes, deletes and inserts from Sophocles. Never skimping on the physical, the State’s production plays out Ajax’s battle with the sheep, something that would never be shown in Mediterranean amphitheaters. Teiresias is cut from this Antigone. Also, Speicher’s version plays up Antigone’s story and plays down Creon. This is a sharp divergence from Sophocles’ play, where Creon is the real focus, not the titular teenager.

The grand Greek chorus is pared down to just one woman, the sparky Sarah Sapperstein, who does a majestic job of navigating us through both plays as well as portraying some of the smaller characters. Both plays are performed by an ensemble of six, with a lot of doubled-casting. Kyra Morris is a rich Antigone, stoic and proud—she makes the character a tragic hero. Chris Amos does double duty as Odysseus and Creon with charm and passion. Mark Umstatd’s shirtless Ajax overpowers the space with his yelling. This mars several scenes and draws the audience out of the play.

Ajaxantigoneproductionstill10of11 Production stills from the play "Ajaxantigone"
Production stills from the play "Ajaxantigone" Production stills from the play "Ajaxantigone" Ajaxantigoneproductionstill9of11

Speicher’s treatment of both plays is layered and lyrical, although there are missteps. African-American spirituals are used throughout, but they do nothing but distract from the stories on-stage. Kylie Edmonds’ costumes are appropriately distinguished, while the set is less complete. The scenic design consists of two mobile boxes that are used to create a myriad of environments among walls draped with white cloth. The abstraction is great, but the boxes beg more aesthetics and less functionality. And although Mbo Mtshali’s choreography is striking and spot-on much of the time, the production also has sloppy moments: actors get too close to the audience, and in one fit of madness, the barefoot Ajax accidentally stepped on the “blade” of his “sword” (made of wood). Forgivable offenses, but one has to think that they could be avoided, given the precision of the beautiful and demanding choreography.

The State’s audacity is evident in all aspects of the production. On opening night, they actually encouraged the audience to flip open their phones and tweet, text, snap, and update away (although I think Patti Lupone’s thoughts on the subject were still ingrained in most people’s heads). The State Theatre presents itself as bold, new, and edgy—AjaxAntigone proves that the company is good as well.

 

Rating: ★★★

Production stills from the play "Ajaxantigone"

Extra Credit