Historical antagonism, theatrically redefined. - Review of Antigone : Sinhala adaptation by the Academic Players. (c) Anupama Madhubhashinie
Antigone is, to date, among my peers at least, the most discussed and debated production by the Academic Players. I've seen the rant with its regards when I was a student, and didn't want to miss another show. It was truly a treat for the Classical Theater lovers such as myself. I'm sure that the modernist twist Priyankara Ratnayaka brought into the plot by the subtitle "- On a Day Like Today" gave birth to ample curiosity in the contemporary campus-crowd as well. There was a huge audience for the show, unsurprisingly, mostly due to the historical and literary relevance of the plot, and the positive past reviews of the production.
Let's start with the role-play ! Haha. Just sayin'.
Undoubtedly the most talented actor on stage during the entire drama , in my opinion and also in the opinion of at least 75% of the audience, judged by their reactions and comments, was Gihan Fernando- portraying the male antagonist (how ironic!) King Creon. His diction, and clarity of expression, both verbal and non verbal were excellent. Although his role was not comical, his reactions to the comic timing of the soldier played by Tumindu Dodantenna, showed sheer professionalism in performance. It is unnecessary to say how appropriate Mr Dodantenna's personalized his role of the soldier, accompanying his persona with appropriate vocal rendition.
Saman Malalasekara took upon his sleeve the role of Hemon pretty well. However I must say that his expressions had a slight disadvantage as we could not view his visage from the mid section of the auditorum. Pehaps the crew should be a bit more careful with the lighting? Just a suggestion.
The sepctators and mostly they were edged up on their seats in order to catch all the fast-paced dialogue.
Ismene's role was taken over by Srimanthi Nelusha, who's energy in vocal projection and subtly apt gestures made her presentation very successful. For me though, the "best-supporting actor in a female role" goes to Kaushalya Mendis who played Tiresias, the wise, reasonable blind prophet whose predictions bring logic to the impulsive, angry Creon. Her holistic incooprtion of expressions, gestures and even her diction complimented the role perfectly.
Eurydice of Thebes was portaryed by Chathurika MIhirani. Although her role didn't have much representation in the entire play, I believe she did as she was instructed.
The star of the night was undoubtedly Prasidini Atapattu, whose depiction of Antigone impecably brought forth the incomparable theatrical character to life. Her pace of movement and diction, flowed pleasantly and she looked as if she had dug out the intricacies of the impetuous Antogine and adapted them as her own, flawlessly, which is in my opinion a trait of professionalism in acting. Her presentation was sound, apt and denoted what was to be the thematic flow of the play.
My favorite moments of the play was the beautifully executed presentations of the Choir/Dancers. They were simple, clear and yet astoundingly brought out the weight in the plot. The choreography was commendable, poignant, and I appreciate how much effort the director and choreographer had invested in producing clarity in every scene. Cheers to Mr Priyankara Ratnayake and Ms Harshika Ratnayake for this anatomical and extensively mused deliverance in the production.
I found the costumes, hair and makeup very refreshingly simple, yet appropriate for the roles. One tiny point which will need reconsideration, however, were the costumes of Hemon and Creon, and a few of the backdrop-roles Further improvisation of thought and a bit more effort would do in that section.
I personally believe that Antigone is one of the best productions I've seen by the Academic Players; from its historical connottaions to the contemprary interprettaion for which "On a Day Like Today" was a phrasal pertinence. As a theatre-lover I would've killed (metaphorically speaking. No I shall not murder! :D ) to take part in the staging, even most insignificantly. I pray that the Players would come up with brilliant interprettaional work such as this, in the future, not just to entertain and inform, but also to continue educating, fulfilling and promising; as the chorus states, to showcase how subtly yet dangerously pride can be used and manipulated, and absorb punishment from the gods. And that nevertheless, empirical punishment brings wisdom.
If you missed watching the antigonistic rebel on stage this time, keep in touch with the Academic Players; the most talented theatrical group I know. And do not miss the next UoK Drama Fest.
Blessings!
Let's start with the role-play ! Haha. Just sayin'.
Undoubtedly the most talented actor on stage during the entire drama , in my opinion and also in the opinion of at least 75% of the audience, judged by their reactions and comments, was Gihan Fernando- portraying the male antagonist (how ironic!) King Creon. His diction, and clarity of expression, both verbal and non verbal were excellent. Although his role was not comical, his reactions to the comic timing of the soldier played by Tumindu Dodantenna, showed sheer professionalism in performance. It is unnecessary to say how appropriate Mr Dodantenna's personalized his role of the soldier, accompanying his persona with appropriate vocal rendition.
Saman Malalasekara took upon his sleeve the role of Hemon pretty well. However I must say that his expressions had a slight disadvantage as we could not view his visage from the mid section of the auditorum. Pehaps the crew should be a bit more careful with the lighting? Just a suggestion.
The sepctators and mostly they were edged up on their seats in order to catch all the fast-paced dialogue.
Ismene's role was taken over by Srimanthi Nelusha, who's energy in vocal projection and subtly apt gestures made her presentation very successful. For me though, the "best-supporting actor in a female role" goes to Kaushalya Mendis who played Tiresias, the wise, reasonable blind prophet whose predictions bring logic to the impulsive, angry Creon. Her holistic incooprtion of expressions, gestures and even her diction complimented the role perfectly.
Eurydice of Thebes was portaryed by Chathurika MIhirani. Although her role didn't have much representation in the entire play, I believe she did as she was instructed.
The star of the night was undoubtedly Prasidini Atapattu, whose depiction of Antigone impecably brought forth the incomparable theatrical character to life. Her pace of movement and diction, flowed pleasantly and she looked as if she had dug out the intricacies of the impetuous Antogine and adapted them as her own, flawlessly, which is in my opinion a trait of professionalism in acting. Her presentation was sound, apt and denoted what was to be the thematic flow of the play.
My favorite moments of the play was the beautifully executed presentations of the Choir/Dancers. They were simple, clear and yet astoundingly brought out the weight in the plot. The choreography was commendable, poignant, and I appreciate how much effort the director and choreographer had invested in producing clarity in every scene. Cheers to Mr Priyankara Ratnayake and Ms Harshika Ratnayake for this anatomical and extensively mused deliverance in the production.
I found the costumes, hair and makeup very refreshingly simple, yet appropriate for the roles. One tiny point which will need reconsideration, however, were the costumes of Hemon and Creon, and a few of the backdrop-roles Further improvisation of thought and a bit more effort would do in that section.
I personally believe that Antigone is one of the best productions I've seen by the Academic Players; from its historical connottaions to the contemprary interprettaion for which "On a Day Like Today" was a phrasal pertinence. As a theatre-lover I would've killed (metaphorically speaking. No I shall not murder! :D ) to take part in the staging, even most insignificantly. I pray that the Players would come up with brilliant interprettaional work such as this, in the future, not just to entertain and inform, but also to continue educating, fulfilling and promising; as the chorus states, to showcase how subtly yet dangerously pride can be used and manipulated, and absorb punishment from the gods. And that nevertheless, empirical punishment brings wisdom.
If you missed watching the antigonistic rebel on stage this time, keep in touch with the Academic Players; the most talented theatrical group I know. And do not miss the next UoK Drama Fest.
Blessings!
Comments
Post a Comment