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Belief in power?
Or power in belief? 

Sophocles's story of Antigone may have  been written over 2,000 years ago, but can we say we have ever answered the questions it poses? This is the Greek tragedy for those who don't think they like Greek tragedies.

The Kirkwood Players brought to life the timeless struggles between logic and emotion; ought and should; professional and personal duty. 

Winter 2018 

Westchester, IL


(Mike Mailloux)

The play’s narrator. One of the chorus’ most important purposes is instructing the audience on proper spectatorship. The chorus is quietly insightful, but intercedes during the play’s more critical moments of reflection. 


(Erick Sosa)

The son of King Creon and Antigone’s fiancé. The unsuspecting prince who is a perfect match for Antigone. 


(Rachel Edsill)

 Creon’s wife, the queen. She is seen on stage, silently and innocently knitting. 

(Rachel Edsill)

A classic character in Greek tragedies; the nurse keeps our dramatic, idealistic characters grounded. The “everyday man” in a world of not-so-everyday scenarios. 


(Ryan Huetson)

An authoritative, but weary man. Creon is King, but not yet sure of what that should entail. He visibly struggles with this question while wielding a powerful sword. 


(Matt McDee)

Creon’s personal messenger


(Erina Johnson)

The play’s heroine. She is described as someone who doesn’t think, but feels. Although a noble, she reflects more tendencies of a pensive commoner than a princess.


(BJ Macias & Bill Lyons)

An exemplification of the age-old stereotypical “dull-witted” police officers. They play cards, seek a sense of duty and belonging, and do not question the authority they serve. 


(Jacob Macias)

Creon’s personal attendant


(Stephanie Fillion)

Antigone’s radiant and beautiful sister. She is the vivacious, “good princess” of the family. 


(Allen Kallas)

While displaying the traits of the other guards, Private Jonas gives insight to the struggle between following orders and following one’s inner moral compass. 

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