‘Antigone’ at Court Theatre is a Feast for Theatre Lovers

Antigone, the final installment of Sophocles’ Oedipus cycle translated by Nicholas Rudall, running at Court Theatre reminds us that the Greeks did not know the meaning of “a living room play.” I have spent the early part of the year in rehearsals for my own show, and not seeing many plays. But, if you read my review of The Gospel At Colonus, you know there’s nothing like a Black Greek Tragedy to get me into the streets and back to my other craft of criticism. I love them so much because Greek Tragedies were meant to hold multidisciplinary storytelling approaches such as music, movement, spectacle and text all at once. 

This Greek polymathic, multilayered approach to storytelling is picked up by director Gabrielle Randle-Bent in the present day, as visual art, fashion, poetry, vocal arrangements and body percussion work together to give us the emotional experience of Antigone. There is so much to eat in this production. Antigone is a whole meal, and I commend Randle-Bent for serving it up. There are places where it can feel like I’m trying to swallow too much, at times I was frustrated – yet Antigone’s world is frustrating. To me, great art isn’t perfect, but it does make me think, and enjoy the process of wrestling with it and making meaning. I appreciate the risks taken in this production. Without them, I’d have nothing to write about. Continue reading “‘Antigone’ at Court Theatre is a Feast for Theatre Lovers”