The production of Sophocles’s "Ajax" at the Atlas Performing Arts Center, directed by Robert McNamara, aims to explore the psychological struggles of modern American soldiers through an ancient Greek tragedy. Despite a talented cast and some innovative production elements, the play suffers from a muddled vision that prevents its intended themes from resonating clearly with the audience. The director’s focus on post-traumatic stress disorder (PTSD) is commendable but hindered by inconsistent staging and costume choices that clash with the traditional Greek tragic format. While the cast delivers strong performances, particularly the Chorus, the overall execution leaves much to be desired.

Struggling to Bridge Ancient and Modern Worlds

The intention behind this adaptation is to draw parallels between the ancient warrior Ajax and contemporary soldiers grappling with PTSD. However, the production fails to effectively bridge these two worlds. The setting remains firmly rooted in classical Greek tragedy, with little indication of modernity beyond occasional slide projections and some costumes. This disconnect creates confusion rather than clarity, as the audience struggles to reconcile the traditional staging with the director’s modern interpretation.

McNamara’s choice to depict Ajax as mad from the beginning limits the character’s development. Oscar Ceville gives a powerful performance, but the lack of progression in his portrayal makes it difficult for the audience to fully engage with the character’s journey. Meanwhile, Ellie Nicoll shines as Athena, delivering her lines with an eerie intensity, while Ian Blackwell Rogers brings a swaggering charm to Odysseus. The Chorus, portrayed by Oscar Salvador Jr., David Johnson, and Jessica Cooperstock, stands out as the highlight of the production, seamlessly weaving their lines together in a captivating manner.

Inconsistent Elements Distract from the Core Message

The production’s inconsistency extends beyond the characters and into the design elements. Mei Chen’s costuming choices are perplexing, with male soldiers dressed in modern combat gear, the Chorus wearing sailor caps, and Agamemnon and Menelaus appearing in fascist attire. These conflicting styles detract from the intended theme, creating a disjointed visual experience. Additionally, Tipton’s translation begins faithfully but abruptly shifts to include modern idioms, further disrupting the immersion.

While the sound design by Denise Rose enhances Nicoll’s performance, the overall production feels like a collection of competing ideas rather than a cohesive whole. The hodgepodge of concepts, from the inconsistent costumes to the sudden changes in language, undermines McNamara’s attempt to reflect on the modern soldier’s psyche. Ultimately, the production’s ambition is admirable, but its execution leaves room for improvement, leaving the audience with more questions than answers.