Antigone National Theatre (2012) Review

Antigone, National Theatre, 2012

Opening with the cast recreating scenes that evoke memories of Obama taking down Bin Laden, this vaguely Cold War inspired version of Sophocles Antigone is utterly mesmerising. Starring Christopher Eccleston and Jodie Whittaker as Creon and Antigone, respectively, this grungy adaptation is set mainly in a bunker after a battle sees Antigone’s brothers, Polynices and Eteocles killed. Creon is adamant that Polynices does not deserve a proper burial as he was the aggressor of the battle. Antigone then vows to bury her brother regardless of the punishment that will befall her, setting the scene for the story to follow the tragedies that come from the struggle between choosing to do what is legally correct but morally corrupt.

Eccleston brings a beguiling and intense quality to the role of Creon, as his tortured soul navigates through making the choice of what is right for his family, or what is right in the eyes of the law. His lofty remarks make for an occasional comedic break, while providing a humanistic layer to the impressive and stern ruler.

Jodie Whittaker performs in her natural northern accent, which admittedly is slightly distracting at first, but it eventually provides a wonderful flare and fiery quality to the character. Her character is strong and uncompromising in the name of what she believes is right, and Whittaker executes this brilliantly - while she is passionate and stubborn, she also has an air of vulnerability, having just lost her both of her brothers.

The production is classic of director Polly Findlay, featuring contemporary staging and costuming in stark contrast to the ancient greek play, similar to her 2018 production of Macbeth, again starring Ecclestone in the lead role, but the story itself translates well to a Cold War setting, highlighting the trials and tribulations of being a ruler and doing what you believe is right, that have been with humanity for millenia.

The set is built on a revolving platform which makes the set changes an interesting interlude which stops the audience from being taken away from the intensity of the story and breaking immersion. Scattered with desks and paperwork the set feels as though it should reek of second hand smoke and coffee, perfectly reminiscent of the time period it is portraying.

Overall, the 2012 production is definitely an enjoyable watch, utterly mesmerising from the outset, an electric and exciting adaptation of a 2000 year old play. Brilliant.