After being in a Covid lockdown world, Hollie McNish’s modern retelling of the classic Greek tragedy Antigone, written by Sophocles, brings the theatre world back with a definite bang! Before even being sat in the theatre, compere Matt Crosby captures the attention of the audience in the spacious hall. He presents an engaging and comedic introduction into the history of Greece and Greek Tragedy, with the accompaniment of subtitles that are displayed on a large screen within the area the audience is waiting in. After the audience are led to their seats, they are greeted by the compere for the second time, also with the messenger (Rachel Merry) to get the back story on the first parts of the Theban trilogy. 

Antigone begins with the two sons of Oedipus, Eteocles and Polyneices, who are fighting for the kingship of Thebes. Both men die in the battle. Their successor, Kreon (Ken Christienson), decides that King Eteocles will be buried but Polyneices, because he was leading a foreign army, will be left on the field of battle. Antigone, his sister, buries him anyway. Accessibility is an ongoing theme through the entirety of Antigone, with Antigone (Fatima Niemogha) and Ismene (Raffie Julien) being played by actors who both identify as deaf and use BSL. Their exchanges leave the audience in stunned silence holding onto every word, sign, and passionate expression that they give, which is beautifully amazing. With another two cast members as BSL interpreters, it is refreshing to see them embedded within the play compared to just standing at the side of the stage. They bring the play together with raw emotion and comedic moments setting up the rest of the play around them. 

Antigone is caught burying Polyneices and is condemned to death. Her fiancé and Kreon's son, Haemon (Bart Lambert), learns about this and tries to convince Kreon to change his mind. It's only then that the seer Tiresias (Jim Findly) appears. After a long discussion, he finally persuades Kreon that the gods want Polyneices buried. Through this tumultuous dialogue, the character of Kreon can be seen to develop as he speaks to the seer and the audience grows sympathy for him as he gradually sees the errors of his ways. This is also highlighted through the Greek Chorus’ dialogue with him, which shows the process of his realisation to changing his mind although as this is a Greek Tragedy, we know that it will be too late. The Greek Chorus are cleverly placed within the stage to challenge different topics within Antigone including the patriarchy. They give very passionate performances and discuss consent with each of them having their own voice within the play and in society, which is a definite twist on the traditional Antigone and to change the pace and tempo by breaking into song every now and again, it occasionally takes a bit away from what is going on. Relayed by the comedic Guard (Harry Bharat), Antigone hangs herself, Haemon kills himself when he finds her which occurs offstage. These two are then brought onto stage for the final words of the Greek Chorus emulating Sophocles and giving the audience food for thought. The lights come down to applause then up to bows followed by the entire cast singing ‘Girl on Fire’ by Alicia Keys. If anything, the ending feels slightly rushed with half of the action either cut or happening offstage, which leaves you wanting more.

The set works well around this tragedy and at one point, Antigone disappears through a hold in the centre of the set, which is laid out in a semi-circle covered with nature and dimmed lighting. The cast are free to walk on and off from different parts of the set, which keeps the audience guessing, the Greek Chorus sit on the stairs watching on as the story develops, which works well with lamps and different props being brought on through holes in the sides of the stairs, adding to the ambience. The backdrop is a projected screen with subtitles that continues throughout. What occasionally lets the play down is that the subtitles - at points - do not marry up with what the actors are saying so it seems like the subtitles are playing catch up, staying still through quick exchanges of dialogue, being missed or just skipped through so fast that it is unable to be read. This could be down to the actor’s passion and flow of dialogue which is evident or just a glitch in the technology but it is not something that can be held against the production. This play is traditional meets modern in a fight against right and wrong. With traditional costumes and modern language, it has its contradictions which work well. 

Writer Hollie McNish herself says she hopes it will make people think about society and their place in it, and how easily we can all become any of these characters, both good and bad. The play does indeed do this and this is certainly one to watch, Besties!

*** Three stars

Reviewed by: Isadora Brown

Antigone plays at Storyhouse, Chester until 23 October. To book tickets, please click here.