Gesher Theatre’s Anti is a cynical and sensual look at tragedy; the classic Greek tragedy of Antigone, and the tragedy of our own time, in which there are no heroes or causes, only ironic distance. Directed by Yevgeny Arye, and translated by Roee Chen, the play is not Sophocle’s Antigone, but that of Jean Anouilh, first performed in 1944, during the Nazi occupation of France. The play and its staging places an emphasis on the emotional conflicts, both internal and between the characters.
The set, designed by Michael Kramenko (as are the costumes), creates a contrast between the natural, flowing, sensual world of sand and sea, the eternal rhythm of birth and death, and the artificial, man-made world with its high walls and rigid rules; the shift in vision between child and adult, Antigone and Creon.
The chorus is played by Israel (Sasha) Demidov with a world-weary elegance, wandering shirtless and barefoot in his three piece suit. Accompanied by a band of punk clowns (Ori Yaniv – percussion, Yair Slutzki – trombone, Ilya Mikhich – electric guitar), Demidov guides the audience through the evening – teasing, amusing, offering his philosophical commentary, toying with the audience and characters. The music is an integral part of the performance, from Shocking Blue’s Venus, to Greek folk music, and Tom Waits, contributing its own layers of emotions and associations.
Demidov’s opening exposition is like a friendly, drunken vanitas. He sits on the sand and playfully demonstrates the evanescence of all life and ideologies: in this play, Sophocles is merely a plaster bust pulled out of an old trunk. It’s all been done, it’s all known, and yet… and yet, this clown with his post-modern witticisms (Once there was a King named Oedipus, who had an Oedipal complex) makes us laugh, he makes us listen and he makes us cry.
There is a self-referential theme running through the play, not only in the Chorus, who explicitly makes the connection to Sophocles and the theatre, but in the different characters relationship to the roles they are destined (or have chosen) to play. Some are to be heroes, with all that implies, some are villains, and some, merely beautiful. As in all great plays, the small roles are significant. In this case, the lottery falls to the hapless guard, the little man, played to hilarious perfection by Shir Shinar.
With her short, unruly curls, dressed in sweatshirt and leggings, Antigone (Ruth Rasiuk) is no longer a child, and not quite a woman. Emotional, impulsive, acting perhaps more out of bravado than bravery; one of the most credible Antigone’s I have seen. Creon is quite an interesting authority figure here, played by Cameri Theatre actor Shmuel Vilozhny. Vilozhny is well known as a comic actor, and there is a touching vulnerability in his portrayal of Creon that invites one’s empathy. Often the conflict between Antigone and Creon is depicted as a clash of titans, figures larger than life, authority with a capital ‘A’ confronted by conscience with a capital ‘C’. Here, the struggle is more human, familiar, tender and painful.
ANTI, based on Antigone by Jean Anouilh
Translation: Roee Chen; Director: Yevgeny Arye; Set design and costumes: Michael Kramenko; Music: Avi Benjamin; Lighting design: Igor Kapustin (Estonia); Dramaturge: Katya Sassonsky; Assistant director for voice and speech: Yonny Lucas; Assistant director: Sasha Kreindlin; Cast: Shmuel Vilozhny (Cameri Theatre); Ruth Rasniuk; Israel (Sasha) Demidov
