Effects, actors' depth make a fantastic 'Island' go deep

DURHAM -- There's no finer proof of live theater's impact and influence than Little Green Pig Theatrical Concern's production of Athol Fugard's "The Island."

Set in South Africa's notorious Robben Island prison, the play follows the plight of two cellmates imprisoned during the horrors of apartheid.

The play centers on the pair's preparations for a pared-down version of "Antigone" to be presented at a prison talent show, their way of secretly protesting the inhuman laws that put them behind bars.

Although much has changed about the situation that this 1973 play depicts, its theme of moral rights versus legislated rights is timeless.

The production succeeds on every level. For 75 vividly sustained minutes, the two actors, Thaddaeus Edwards and LaMark Wright, movingly express their fears, hopes, frustrations and dreams.

Surprisingly, there's much natural humor, emphasized by the actors' visceral physicality and depth of characterization. They both take on authentic-sounding South African accents and fearlessly embody their characters' most private moments.

Michael O'Foghludha, in the actor's first directorial assignment, shows a firm grasp of what makes good theater, the pacing taut, the themes clear.

His production team's contributions are a textbook of unified creativity: sound designer Adam Sampieri's chilling prison sirens and comforting crickets; Andy Park's claustrophobic, forbidding lighting; Jay O'berski's (and O'Foghludha's) depressingly Spartan cell setting.

The production builds impressively to the play's final scene, investing the two-man "Antigone" recitation with gripping layers of connection, from Sophocles to South Africa to contemporary society.