Review: ANTIGONE: IN THE LANGUAGE OF KINGS at Getty Villa & Latino Theater Company

If Sophocles was able to catch a performance of Antigone: In the Language of Kings, the new adaptation of his classic work Evelina Fernández has written for the annual outdoor amphitheater production at the Getty Villa in a coproduction with Latino Theater Company, though delivered in a fusion of languages and through the lens of a culture that would be entirely foreign to him, I believe he would be impressed. I also believe, beneath the florid poetry, the stunningly-detailed costumes, and the imagistic staging, he would instantly recognize the overarching humanity that has carried his play through the centuries. Antigone: In the Language of Kings succeeds in moving the audience through the power of this great tragedy. Told by a masked chorus and announced by actors in a declamatory style, the clarity of the verse is prioritized above all else, thus the story resonates effectively through the summer air. This production holds all the lyrical beauty one could hope for from the staging of a Greek tragedy. However, Antigone additionally hits a nerve of universal relevance and, in key moments, the familial themes of morality, loyalty, and honor feel raw, exposed, and as urgent as if conveyed in a much more intimate production.

Director José Luis Valenzuela feels perfectly at-home helming a production of this scale and in this venue. His imagination has translated the narrative to the space with inventiveness and a compendium of striking sensory experiences. Incense wafts through the air as funeral rites are performed. Antíkona drags the corpse of her brother along the concrete— her righteous rage palpable. A performer on stilts embodies the presence of Miquiztli— a Nahuatl symbol of death— looming with consistent presence over the unfolding narrative. With a smattering of memorable moments including the lighting of a funeral pyre, Antíkona’s suicide, and a dance representing a battle, this is an exciting, visually-striking production that will keep audiences captivated for the concise run-time.

As Antíkona, Esperanza América feels contemporary without being out of place. She navigates perfectly the grand style required of the amphitheater while imbuing every speech with the humanity required to translate the emotional relevance of the piece. Every scene that includes Sal López’ Tetzahuitl is a treat. He has conjured up an impressive energy that ricochets through the air with electricity. Coming later in the performance, José Eduardo Moreno’s Hemon and Zilah Mendoza’s Cihuatlahtoani Euridice aptly deliver the play’s devastating conclusion with aplomb.

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