At the Minerva Theatre in Chichester, the traditional act of pouring libations to honour the dead takes on a menacing tone as a black, tar-like substance spreads across a bright yellow stage. This imagery sets the scene for Nina Segal’s experimental revisiting of the Sophoclean tragedy, where the viscous liquid forms a dividing line within the court of King Creon, portrayed by Max Bennett.
The narrative centers on Creon’s rigid refusal to reconsider his laws after condemning his niece, Antigone (played by Nina Cassells), for defying him to bury her brother. As the plot unfolds, the tar circle becomes a boundary between those welcome in Thebes and those who are not, eventually spreading and smearing anyone irreversibly impacted by the resulting chaos.
Segal’s production aims to explore the far-reaching consequences of human actions and their ripple effects. While the approach is notably inventive, director Jeff James notes that not every concept succeeds in this fourth-wall-breaking performance. The production frequently blurs the lines between the ancient Greek characters and the actors themselves, with cast members stepping out of role to share personal anecdotes via microphones suspended above the stage.
Performers recount stories ranging from watching a fox decompose to dealing with a husband’s death or a daughter’s suicide. Although these moments are emotionally resonant, their connection to Antigone’s plight is often tenuous. The director’s emphasis on verbalizing emotions—anger, fear, sadness—rather than demonstrating them through action creates a distancing effect, preventing the show from achieving its full emotional potential.
Observing the cast mine personal memories to find links to centuries-old characters gives the performance the feel of a method acting workshop. Antigone Exits continues its run at the Minerva Theatre, Chichester, until 17 October.
Great venue, disappointing direction. Creon’s rigidity was clear, but the meta-theatrical breaks just distracted from the powerful source material.
Experimental is fine, but this felt disjointed. The personal stories lacked tenuous connections to the original play’s themes of state vs. conscience.
Curious about the yellow stage contrast! Has anyone seen it? Does the casting of the writer as Antigone change how you view the piece?
I went expecting Greek drama; instead, I got a method acting workshop with microphones. Hard to connect when the ancient text disappears.
The tar imagery sounds striking, but swapping tragedy for personal anecdotes felt like a missed opportunity for emotional depth.