A striking and relevant exploration of power, morality and tyranny.
Like many Greek tragedies, Antigone by Sophocles is a play with many meanings and interpretations. Perhaps the most relevant to our current times is Don Taylor’s translation, which the Edinburgh University Theatre Company uses to great effect to explore the complexities of statehood, leadership, tyranny and morality.
Antigone follows a simple narrative with complex consequences: two sons of Oedipus, Eteocles and Polynices, have died on opposite sides of a battle. Eteocles, who fought for the protection of their home city of Thebes, is given a burial with full honours and rites, while Polynices, who fought with a foreign army, is left to decay on the battlefield by order of their uncle, King Creon. Antigone, their strong-willed and devoted sister, resolves to give Polynices a proper burial, risking Creon’s decreed penalty of death. The play explores the conflict between the individual and the state; Antigone, Creon, the senators and other members of the family debate amongst themselves the nature and purpose of a government, the morality of laws and strength of mortals over the will of the gods.
While the play is still named for its heroine, the true main character of this translation is Creon, the King of Thebes, and it is through him the play explores its complex themes. Thus, while the core moral questions of the play are set in motion by the character of Antigone, carried with strength and constancy by Bibi Berliner Benson, the weight of theme lies on the actor playing Creon. Fortunately for this production, the character of the king is captured with subtlety and menace by Rufus Goodman. Goodman’s Creon is incredibly well-considered: smug yet volatile, weak in his rigidity, tyrannical and yet often charming; a true politician of both ancient and modern times. He captures the audience’s attention even when silent, and his characterisation is recogniseable to modern audiences without being obviously based on any particular public figure. An honourable mention in acting is also due to Theodore Perrott as the Soldier, who arrives onstage a fully formed and complicated character, intricately delivering some of the most important information while providing a heavy-hearted comic relief and immense pathos.
The production is simple, with a single set and no costume changes. The chorus is present almost throughout the whole runtime, giving the events an added tension as senators debate and change sides. The direction is simple but effective, with the only questionable decision being the singing of the chorus, which somewhat serves to slow down the pacing and muddy some of the most lyrical verse in this translation.
Overall, this is a play worth seeing. It is a poignant, well-thought-out production, and it is clear that those involved have taken into great consideration what this play, and especially this translation, means in the context of our current times.