‘ANTIGONE’ review
‘proves that the past can be bridged with modern times and does so superbly’
DUCT’s production of ANTIGONE is a masterclass in classical adaptation. While the choice of setting the play in a 1950s Burnley textile mill might seem unusual at first, it proves effective in bringing into the narrative more modern thematics while still keeping the tragic core of the Sophoclean work. The plot of ANTIGONE revolves around two events: that of the eponymous heroine’s burial of her brother and the subsequent punishment for undertaking said action in spite of Creon’s orders.
Director Estelle Pollard-Cox, assisted by Jess Cloake, made bold directorial choices that brought the ancient tragedy under a new lens, for example that of showing Polynices’ burial on stage. The use of space was deliberate. Remarkably, Creon looms over the rest of the cast to establish himself as a figure of power and Antigone’s chilling direct address of the audience renders it participant of the tragedies that are about to befall her.
Set Designers Theo Henman and Dan Haines worked incredibly well to recreate the atmosphere of a textile mill and Uli Haarhaus’ costuming was just as exceptional, bringing the characters to life and making statements about their morality. Such a choice was that of Antigone’s full white ensemble when she was in the cave, hinting at her innocence in the face of injustice. Moreover, the sound (designed by Oli Fitzgerald) and lighting (designed by Leyla Aysan; operated by Anya Coates) helped bring the vision to life and were impeccably chosen. This was all facilitated under the superb management of Production Manager Lucy Smith.
Moving on to the acting performances, the cast was simply incredible. The calibre of the show is that of all-round standout performances. Antigone in particular, played by Pearl D’Souza, was portrayed majestically in her resolved rebelliousness. However, where D’Souza’s performance reached its climax was where Antigone faces death, delivering a heartbreaking performance that perfectly encapsulates the character at its core. “Death is another country” says Antigone: one where she will rejoin her brother, one unfettered by the laws of Creon, expertly played throughout by Jasper Hinds.
Hinds’ range was commendable as the character was portrayed going from boisterous and decisive in his piousness and loyalty to his country to utterly miserable in his despair. As the chorus surrounded him, denouncing his recklessness, Creon was demeaned, exclaiming that he is nothing - reminding us of the fickleness of power.
The chorus, an instrumental role in ancient theatre, was amazingly led by Aaliyah Angir and composed of Sophie Browning, Milly Hale, Eva Tozzi and Isobel Willis. The first stasimon of the play - also known as the “ode to man” - was a standout for the chorus. Their unsettling presence permeated the stage as the tragedy evolved, and their gnomic tone was apt for such a play. Angir’s expressiveness, in particular, was truly remarkable as the chorus took Antigone’s side in her quest for open resistance. On the opposite side of the spectrum is the character of Ismene, Antigone’s sister, played by Isobel Willis, who portrays her flawlessly in her meekness and endurance.
Other standout performances were the messenger, played Leon Perry-Masey, who rendered the character comedic despite his fear, offering a needed relief in the face of the tragedy that unfolds. Moreover, Haemon, played by Harry Robinson, portrays the character in its fragility surrounding his sorrowful destiny, proving to be incredible in his exchange with Creon as he defies his father-figure.
Finally, Tiresias, played by Nefertari Williams, strikingly depicted the character’s irony of not being able to see yet knowing what is about to happen, and Eurydice, also played by Williams, was notably shown as aloof in the face of tragedy yet concealed a much darker decision to come for the character.
Greek theatre can be daunting as more than two millennia separate us from the great Athenian tragedians. Yet ANTIGONE proves that the past can be bridged with modern times and does so superbly.
By Matteo Fronduti.