An ensemble cast lets the resonant poetic language of this classic Greek tragedy, translated into English by Seamus Heaney, flow freely into the audience, delivering their substantial speeches facing outwards.  A modern twist is given to the Greek Chorus, who in earth-toned togas chants verses as a cappella choir accompanied by the rustic rhythm of Celtic bodhran and medieval lilt of strings to pagan inspired dances.  The story of ‘Antigone’, one of Sophocles’ trio of Theban plays, successfully stands alone and is told in 75 minutes with no interval.  No reference is made to the preceding juicy Oedipus tales, which introduce Antigone as the daughter of the incestuous marriage between King Oedipus and his mother Jocasta.  However Abby Ford’s full on portrayal of the troubled heroine trapped by fate hints that this is a family with secrets to hide.

 

The title of this classic is changed from ‘Antigone’ to ‘The Burial at Thebes’ to direct the audience to the grist.  The discarded body of Polynices, a traitor to Thebes, is decomposing.  According to the law of Zeus, Antigone does right by her family and gives her brother the honour of a burial, disobeying the law of the state. The highly expressive Abby Ford brings all of her emotions to the surface, not holding anything back as she does the right thing.  Stoically she is aware of the consequences she faces at the hands of ‘King of wrong’ Creon.  Paul Bentall plays a bound, dogmatic Statesman who is deaf to the empathetic views of the people he rules.  Oxford theatregoers may recognize Richard Evans who plays the portentous, blind Tiresias as the memorable Porter in Creation’s most recent Macbeth.  Creon dismisses wise Tiresias as ‘a false prophet’, increasingly believing his own hype that he now finds hard to live up to.  This is the familiar subjective ‘Creon test’ often applied to political leaders; few leaders deliver the idealism they promise after attaining power, Nelson Mandela being a notable exception as the theatre programme points out.  Gordon Brown being a suitable candidate for applying test in modern times.

 

In the last drumbeat of the play the consequences of both divine and human justice find their way to the stage.  Jenny Kagan’s lighting design brings a sculptural feel to the Greek Chorus’ visually striking movements, devised by Jackie Matthews.  A wisp of light outlines the silhouettes of the Chorus to make an eerie ending, offering the clue that more skeletons may lurk in the cupboard or empty shell that is Jessica Curtis’ set.  The texture of the set has the feel of cold grey concrete, which oscillates between echoes of a mausoleum or temple to gods even though it is a political arena.