Review: ANTIGONE with The Lantern Theatre in Conway

The Lantern Theatre’s fall production of Sophocles’ Antigone, directed by Trent Reese and stage managed by Rachel McKee, ran October 17–19 in Conway and leaned into the scale of ideas rather than spectacle, and the result was a gripping, emotionally charged evening of theatre.

By stripping away unnecessary distractions, the company allowed this 2,400-year-old story to speak directly to us now: about power, morality, family, and the courage it takes to stand up when standing up is dangerous. 

The story follows Antigone, who insists on burying her fallen brother Polyneices despite a new edict from King Creon forbidding it. Creon, determined to assert his authority, condemns her for her disobedience. As tensions rise, family loyalty clashes violently with political control, and a domino effect of tragedy begins. In the end, neither side emerges victorious, and the wreckage left behind questions the true cost of power. 

As Antigone, Darby Lytle gives a performance that simmers with conviction. Lytle’s Antigone doesn’t posture, she believes. Every choice feels rooted in loyalty and love for her brother, making her defiance not just political but deeply human. When she stared down the ruling power and said “No,” I swear my starry-heart eyes practically blinked in neon. She held that stage like a warrior poet. 

Jade Coldiron’s Ismene is the perfect foil, soft-spoken, terrified, and torn between loyalty and survival. Coldiron brings such honesty to the role that when Ismene reaches out to her sister, you feel that desperate love. And in a truly brave moment, when she claims she helped Antigone despite never touching the burial, you see her finally choose her sister over her fear, a quiet but mighty act of courage. It gave me chills to see her try to shoulder the punishment so Antigone wouldn’t stand alone. 

Treece Ealy, as Haemon, adds emotional fire in his pivotal confrontation with Creon. Ealy balances youthful idealism with deep hurt, and when he pleads for compassion, you can hear the audience collectively holding their breath. The moment Creon turns away from his son’s desperate logic was genuinely heartbreaking, and you could feel the relationship fracture in real time, like watching a bridge collapse in slow motion. That father-son tension is crucial in Antigone, and these two made it painfully, beautifully unavoidable. 

Opposite them, Jeff Ward makes Creon a man whose authority is both impressive and tragic. Ward skillfully avoids portraying a mustache-twirling tyrant. Instead, we see a leader who fears disorder more than he fears being wrong, making every moment of unraveling intensely watchable, and when he goes from firm leader to anguished father, the transformation and despair really grab at your heart.  

Gabrielle Neafsey as Teiresias adds a chilling shift to the energy onstage the moment she arrives. With steady presence and voice rich with foreboding, Neafsey makes every prophetic warning feel like a countdown we’re powerless to stop. Pammi Fabert’s Eurydice appears later in the story, but her impact lands like a dagger. Fabert’s grief brings the emotional toll of Creon’s decisions sharply into focus, and when the truth hits her, the heartbreak radiates through the room.  

The Lantern team smartly embraces minimalism. A versatile set keeps attention where it belongs, on bodies in conflict and words that cut deep. During several key moments, Bob Lytle quietly underscored the action with guitar, subtle, haunting tunes that deepened the emotional tension without ever distracting from the story.  

The Lantern Theatre’s Antigone proves that big theatre doesn’t require big spectacle, just bold ideas, committed performances, and a team willing to trust strong storytelling. This troupe continues to push Central Arkansas to tell the stories that challenge us, spark conversation on the drive home, and that remind us why the arts matter so deeply in our communities. To see what’s next for The Lantern, visit their website at https://www.conwaylanterntheatre.org. 

Arkansas Awards - Live Stats

Best Musical - Top 3

1. THE WIZARD OF OZ (Arts One Presents)

12.7% of votes

2. CINDERELLA: THE BROADWAY VERSION (Arkansas State University Theatre)

12.3% of votes

3. TUCK EVERLASTING (Harding University Theatre)

10.8% of votes

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