Co-Directed with Rachel VanDuzer
In Jean Anouilh’s adaptation of Antigone, he specifically asks that the world centred around the play be placed in an ambiguous time and setting. We honoured this vision by setting our production in our own dystopian world. A world that feels both parts futuristic, in the shape and form of the three fates who divine the story, but also like a nation stuck in a militaristic past, in Creon and his soldiers. A world that conveys that although this story may be ancient, it is easily repeatable if we as a society are not careful.
This world that we created feels cyclical, as if the characters are trapped into their fates by their bloodlines. This is a story that has been told before and will be told again, always with the same outcome. This is visually symbolized by the red string that details each character’s look in a different way and also makes up the walls of the set, literally trapping the characters within their own familial ties. Our final goal in restaging this play was to use a stagnant text to inspire movement based theatre and physically represent the complex ideas that this play is exploring.
Antigone was nominated for Best Director at the University of Toronto Drama Festival and won Best Scenic Design, as well as Best Breathtaking and Impactful Movement Sequence.