Director Karin Coonrod and the Columbia University MFA drama program’s production of Eurypides’ Phoenician Women is a breathtaking spectacle of drama and dance. Visually arresting, with technical perfection in choreography, brilliant multi-purpose costumes for the Phoenician Woman/soldiers, and rock-solid performances throughout the cast, the performance is a triumph.
The story begins after the blinding of Oedipus. His sons (Eteocles and Polynieces), are at war with one another for the throne of Thebes. One brother marches a foreign army to the gates of the city, poised to destroy Thebes if he is not given the throne, what he claims as part of a deal brokered between the two. Their mother, Jocaste, struggles to play peacemaker with both family and country precariously in the balance. The students brilliantly portray their roles and the themes of patriotism, family, and loyalty are explored throughout with great precision and an accessible translation. The actors march, dance, and work their way across a minimalist stage which adds wonderfully to the brooding atmosphere of war which threatens to tear family and country in pieces.
The costumes for the Phoenician Women change in an instant from soldiers’ halters to civilians’ robes. The players move equally well from military precision to cultural dance and song. Finally, the dramatic performances of the characters leap from the stage with palpable force as the action races to it’s frenectic and tragic conclusion. Everyone agreed: the peformance was a monumental success, and clearly the students will all look forward to long, fruitful careers in the theatre arts and film/television.
“Working several years ago with students American Repertory Theatre, near Harvard, we perfomed Phoenician Women in Moscow,” said Coonrod. “The actors in the Columbia program had great variety of talent, and I knew we could perform this richly diverse piece as their thesis project. With its themes of war and power, and an accessible translation – easy to understand, but with great poetic energy, directness, power and clarity – I believed it would fit well with their richly diverse talents.”
The audience obviously agreed, as the play opened to a full house which roared its approval. The theatre at Columbia’s Riverside Church rang with the cheering at the conclusion. “I’m normally not one for moldy old Greek tragedies because they are all ‘misery, misery, misery,'” said Margot Chiselm, who saw the show with her boyfriend Kurt, a Columbia U. history major, “but that was electrifying. With the terrific choreography, and the palpable dark energy of the actors, was more intense than some rock concerts I’ve seen. I liked it so much, I’m coming again.”
Acting: 6 stars (all ratings out of seven). Kelly McCrann, Jason Martin, Justin Gilman, and Jon Luke all give command performances as Jocaste, Creon, Eteocles, and Polyneices. Antigone (Erin Alexis) took a while to warm up, but got stronger as the performance progressed. Tiresias (Brent Yoshikami) needs to give a more dramatic preformance to his quintessentially important character.
Directing: 6 stars. There is a reason why both Columbia University and Yale trust Karin Coonrod with their students. Her depth and breadth of knowledge in her fields is monumental, and under her guidance, her actors reach their fullest potential. She makes the most out of the minimalist stage with atmospheric lighting.
The only suggestions I would make would be 1) add a few more props such as weapons, 2) actually have Eteocles and Polyneices physically duel on stage while their fate is relayed to Jocaste. It would increase the dramatic effect of the scene, 3) paint the wooden boxes used for props a darker color to match the rest of the stage. I know this is Thebes, but the boxes were too Spartan:), and 4) add more effects to the scene where Creon consults the oracle Tiresias. Perhaps consider even using some dry ice and ghostly lighting. The bad news might be better relayed with due severity, such as thunder and lightning. Give it a “MacBeth meets the three witches” effect. After all, Tiresias has survived the wrath of Hera, and even advises Odysseus from beyond the grave. His character deserves more complexity.
Finally, while I understand the leather jackets worn by some soldiers and three piece brown suit of Creon added a sort of “paramilitary” flavor to the production, they felt a little anachronistic, and didn’t blend well with the wonderful outfits worn by the Phoenician Women, which successfully converted from military garb to civilian clothes in an instant.
Even so, Karin’s work is nothing short of masterful. You can’t wait to see what she’ll have in store for her next production. More, please: soon and often!
Choreography: 6.5 stars – La Conja’s choreography blends military maneuvers with ritualistic traditions. From the opening scene where armies march on Thebes to the sumputous motions of the Phoenician women as they pray to the gods, the choreography is a triumph, made more successful by the perfectly executed movements of the actors.
Overall: 6 stars. It’s worth five times the price of admission. Watch for these actors. They are the stars of tomorrow.
