'AntigonE' relays modern message

As the world fights religious fanatics with misconstrued perceptions of sacred texts, a small ensemble in a tiny theater portrays a post-apocalyptic religious group led by its own misconceptions of sacred truths.\nReligious leaders potentially have the power to mold the minds of millions with their own interpretations of religious texts. They can deem what is right and what is wrong and more importantly, what is truth and what is not.\nIn the postmodern world of "tHe RiTes of AntigonE," the story of the Seven Defenders parallels Sophocles' "Antigone," the ancient Greek tragedy that is the basis of the Defenders' religion; the Seven Defenders are led by one corrupt leader who translates the religious story for his own empowerment.\nDirector and playwright Rick Fonté effectively uses monologues, chants, prayers, songs and stage combat to create this play within a play. Original dialogue from Sophocles' "Antigone" intermingles with numerous monologues from each of the Seven Defenders as well as several chants and songs delivered by the ensemble.\nFonté said in the program notes he originally wanted to question "what might this play mean to us now, or even more interestingly, what it might mean to us 200 years from now."\n"tHe RiTes of AntigonE" successfully delivers a daunting, surreal look at our own perceptions of religious rituals and sacred truths through a revitalization of an ancient story with a modern message.\nMatt Zaradich plays two parts, the cold and heartless leader of the Seven Defenders and Creon, who sentences Antigone, his niece, to die because she chose to give her brother a proper burial instead of obeying the king's decree to leave the body untouched.\nZaradich's intense portrayal of Creon can cause a cold shudder with his vicious words and unrelenting stares. Other strong performances came from Brent Burcroff in the role of Antigone's love and Creon's son, Haemon. Burcroff's subtlety in the beginning of the play allows him to shine later in a confrontational scene with Creon.\nMeaghan Andrew Wilson gives a heart-felt yet flawed performance as the heroine Antigone. Her ability to connect with the other characters and to communicate with her facial expressions should not go unnoticed, but her mechanical and abrupt movements made her appear uncomfortable and unnatural.\nThe cast is rounded out by Anne Acker as Ismene, Gilana Alpert as Eurydice, Ryan Buck as Sentry, Kathryn McRay and David Mickler as Teiresias, and a particularly strong performance from Cáitlín Burke as Acolyte.\nBurke's character is very important to the play. Her incredible voice gave strength to some of the songs, which would have lacked substance if sung by someone without such a commanding voice.\nSeveral scenes involve the cast speaking and singing in unison, resembling the Chorus in Sophocles' work, but rarely were these scenes properly executed. The sloppy delivery made some of the lines inaudible, particularly in the scene with Teiresias.\nOnce the sacrificial rite is to be executed, Antigone speaks up about the ignorance of this ritual. Wilson's strongest point is her argument against Creon and the other Defenders. As she explains that their interpretation of "the Word" has made gods of men, she attacks the religion and the Seven Defenders for believing this incorrect truth out of fear and stupidity.\nEnding in bloody tragedy, "tHe RiTes of AntigonE" forces the viewer to think of the play's implications on our own society's take on the power of religious interpretation. As she nears her sacrificial rite, Antigone asks, "Who knows what is pure and what is sinful? Do you?"\n"tHe RiTes of AntigonE" is a poignant thought on the modern day world and a harrowing projection of the future. It successfully recreates a classic tragedy with universal issues and themes and reapplies them to our contemporary world.