Play Review: ‘antigone lives*’ at U of A Studio Theatre

antigone lives*, written by Susanna Fournier and directed by David Kennedy, is a must see play. The second play of the University of Alberta’s Studio Theatre 2025–26 season, the play is gripping, disturbing, and inventive. It takes an old story and turns it on its head.

The bones of the original story of Antigone are still there, but the play has been adapted into a dystopian yet current setting. The lines of the living and dead are drawn by the city walls, and after Antigone’s (Lauren Johnsen) brothers Polynices (Sable B. Boltz) and Eteocles (Colby Stockdale) kill each other, those lines get crossed and challenged. 

At the very core of the story is how and why we chose to challenge the status quo. Eteocles strives to uphold the oppressive system for his own benefit. Meanwhile, Polynices attempts to tear it all down at any cost for the greater good. The tension between the two leaves Antigone in an excruciating tug-of-war. 

The performances of the entire cast were incredible. Johnsen’s embodiment of Antigone makes you wince and lean in a little closer as she struggles to maintain her sanity. The two brothers are equally insane, and Boltz and Stockdale deliver each role equally well. 

Abby Krushel, who plays Ismene, gave the audience a stunning performance too. She serves as the middle ground between the brothers, working within the system and — though not effectively — trying to change it. Krushel plays her strict control, over herself and others, so well, which makes her eventual crash out even better.

And the jackals, played by Andrew Domanski, Josh Hope, Caileigh Muilenburg, and Liam Sievwright, are perfectly creepy. They create the perfect sense of unease and menace. Then, in the very next moment they are absurd figures dancing to EDM-type music. The actors executed the jackals’ physical movements so masterfully it makes your skin crawl.

But something else sets this play apart from others I have seen at Studio Theatre — the set. The website warns of limited seating and upon entering, it’s clear why. Half of the seating is on the floor and the other half is in two rows of chairs. All of the seating is on the stage of Timms Centre for the Arts. 

Placing the audience behind the curtain was a brilliant choice to make. You can see everything the crew is doing that is typically behind-the-scenes, from raising the lights to bring the cast their props. It also allows for a blurring of the lines between the audience and the cast. At one point, the jackals bring those sitting on the floor onto the stage to take part in a crazy dance scene. 

For a play all about blurring lines and pushing boundaries, this was perfect. And to end the play, the curtain is lifted so the audience looks out into the empty seats as the cast take over the audience’s usual territory. Antigone breaks the fourth wall, speaking directly to the audience and criticizing how people continued to misuse her image from the old Greek play. 

It all accumulates to a deeply uncomfortable commentary on war, conflict, capitalism, hatred, and the value we give people’s lives. This isn’t easy watching by any means, the cast and crew constantly throw the audience into the thick of the discomfort and violence. And that’s exactly how this story needed to be delivered.

Catch antigone lives* at the U of A Studio Theatre while you have the chance to. It runs until December 13.