Review of ‘Antigone [on strike]’: “Unboxing a modern Pandora”

London’s Park Theatre welcomes this new, interactive play challenging the political status quo through a pungent drama exploring compassion and forgiveness. Guillermo Nazara shares his views on the show, to let us know if this contemporary remake of Sophocles’s classic bears better gifts than the Greeks.

Hatred is a sign of our nature, while forgiveness is the blessing of our humanity. We can all agree that reality is never that black or white. That, of course, doesn’t mean that we should always look for a justification for everything – or try to tone down the damage someone has caused while purposely seeking an atrocious feat. But it’s true that sometime we can be find ourselves tangled into a nightmare we haven’t created – even when we willingly stepped into it in the first place. As with every issue, a line has to be drawn at some point. Yet, should that apply to our firmness or our benevolence?

Playwright Alexander Raptotasios makes an ambitious promise at the start of his latest piece, Antigone [on strike]: our thoughts and beliefs are bound to be challenged throughout the performance. It’s a good hook – so good it may end up being too great to be realized. They’re careful enough to only hint in the form of a question: is it to be defied the reason why you’ve come to the show? But the expectation has already been sown. And trust me, as for political dramas, my list of disappointments has been so extensive, I think I should consider buying some additional storage soon – well played, Google Ads.

However, if there’s something we can take from a long line of pretentiously dull, unelaborate acts of unasked self-righteousness, is that you can’t help but feel a rush of unusual, semi-orgasmic joy when the exact opposite happens. Antigone [on strike] may not be the perfect play in terms of structure, but it’s certainly one of the best of its kind I’ve seen in the last few months.

A sharp, poignant comment on today’s societal climate, borrowing inspiration from Sophocles’s classical myth, the story deals with a young Muslim woman beginning a peaceful protest in the hopes of having her sister repatriated. The prospects, however, are not looking good for her – her sibling joined ISIS back in the day, and though she was fooled into becoming a member, those grounds are too serious for the Government to offer any help; let alone, a pardon.

It’s a tremendously gripping premise packed with unending potential for a hugely stimulating, pungent, and astute jaunt. The possibilities as for what it can offer to an audiences are extremely refreshing. But it’s even more refreshing to see how the author takes full advantage of them, and delivers a totally absorbing journey that keeps viewers on intellectual edge to the very conclusion. Beautifully written through fast-flowed, arresting dialogue and exhilarating pacing, the flaw comes from the script’s last iteration – losing part of its defining strength by rushing the finale, in a way that its tragic outcome feels slightly melodramatic and, consequently, unnatural.

Yet, this is only a minor problem that could be easily tackled by adding just a bit more substance – something that shouldn’t be too difficult when its content is already so rich. It’s a matter of keeping the same rhythm and incisiveness we’ve been so transfixed by up until that moment – making its climax look more organic, without necessarily changing its core, but the way its narrative, as a whole, climbs up to it.

In any case, its generally stirring approach is enhanced by the cast’s brilliantly put together performances. With all of them oozing captivating presence and bewildering chemistry, a first mention goes to Sorcha Brooks, for her much inviting, poised, and versatile multi-role rendition. However, the highest praise goes to Phil Cheadle as Craighton (among other characters), exuding exceptional flair, command and depth in his portrayal of the conflicted conservative politician.

Some works of art are meant to be love. Some others just crave to be hated. But as long as they can cause a reaction, we’d be right in calling them a success. Antigone [on strike] is by all means closer to the former. Its piercing, intensely invigorating themes, all of them explored with great aptitude, mastery, and grace, make of it one the most resonating pieces you’re guaranteed to find in the off-West End scene this month. It’s a few tweaks away from being the perfect version of itself, and it could benefit from removing a couple of cliches in its lines. But if every other play flaunted the same degree of profundity this one does, I’d be out of a job soon.

All pictures credit to Nir Segal A.

Antigone [on strike] plays at London’s Park Theatre until 22 February. Tickets are available on the following link.

By Guillermo Nazara