As a classicist with a deep passion for Ancient Greek theatre, I was expecting yet another adaptation of Antigone (with all that implies) when I walked into the Playroom on Tuesday evening. I was wrong.

For one, it’s a mistake to assume Anoulih’s Antigone is a simple retelling of the Sophocles tragedy, and to approach it with preconceived notions of how its characters behave. Written in German-occupied France, Anouilh’s version makes for poignant viewing in today’s charged political climate. This is a production that reshapes and reinterprets, layering new meanings onto the original text while staying rooted in its timeless themes, with a focus less on religious duty and more on individual rebellion against oppressive authority. Both political and poetic, this Antigone unfolds with striking intensity under Elly Na’s direction, elevated by a powerful cast and evocative staging. It is a theatrical experience not to be missed.

“It is a theatrical experience not to be missed”

The Corpus Playroom, an intimate and atmospheric venue, offers immense potential for creative staging which this production makes full use of. Translucent, shimmering fabric draped across the walls and ceilings transforms the space into something ethereal, seamlessly integrated with the evocative lighting design (Jasper Harris). The lighting consistently enhances the drama without overwhelming it, something that cannot always be said in Cambridge theatre. Though minimalist, the set design (Ciara Avis and Megan Kruger) never felt lacking; instead, its simplicity heightened the intensity of the performance, allowing the story and its emotions to take centre stage. I was struck by how cohesively these technical elements came together to create a visually compelling experience.

While the performances grew in confidence as the play progressed, this was an undeniably well-cast production, with each actor fully inhabiting their role and pushing their performance to impressive heights. Michael Iorchir’s portrayal of Creon was particularly striking; he commanded the stage with a presence impossible to ignore, delivering a nuanced and deeply emotional performance that captures the spectrum of Creon’s turmoil. His was a masterclass in modulation, shifting seamlessly between authority and vulnerability, fury, and despair, without ever losing control of the characters depth. Equally compelling was Annie Rainbow as Antigone; had her performance been less formidable, she might have been overshadowed. Instead, she met Lorchir’s intensity with her own, creating a dynamic and gripping interplay between the two. The most unforgettable moment came in the raw vulnerability of Lorchir’s tear-streaked face, his agony palpable, making for a devastating and moving climax. He is, without a doubt, one to keep your eye on.

“I was struck by how cohesively these technical elements came together”

This production doesn’t just excel in moments of intense tragedy, but also delivers comedy with precision and charm. May Daws, as the First Guard, had an impeccable sense of timing, knowing exactly when to land a joke and how to elicit laughter from the audience. She provided a much-needed respite from the play’s emotional weight without ever undermining its depth. Supporting her were Chester Chen and Romola Goldfarb, whose sharp comedic instincts and well-executed background antics, at times verging on slapstick humour, added another layer to the performance. Together, they ensured that the production’s lighter moments were just as compelling as its harrowing ones.

There is little to fault in this production. While there were occasional moments of stilted dialogue, these did little to detract from what was otherwise a well-rehearsed, confidently performed piece. The cast’s dynamic delivery ensured that minor slips were overshadowed by the strength of the overall performance. Even the dance at the end, something that might ordinarily take me out of a production, left me and the rest of the audience struck. As the final moment unfolded, with everyone collapsing to the ground and Creon left standing alone, surrounded by nothing and no one, there was an audible gasp in the theatre. It was a haunting, and visually arresting conclusion that cemented the play’s emotional and thematic weight.

“Minor slips were overshadowed by the strength of the overall performance”

This production felt particularly poignant, sparking dialogue and debate among those I watched it with. It arrives at a crucial moment, against the backdrop of unsettling political developments in the West, including here in Britain. At its heart, it raises urgent questions about civil disobedience, deliberately maintaining an ambiguity as to whether it sympathises with Creon’s rule or critiques it. What was especially striking was the shift in focus from Antigone to Creon, something that sparked outrage among my friends but ultimately served as a powerful means of examining his authority and the mechanisms of power he represents.

Ultimately, this production left me feeling both inspired and reinvigorated, reminding me why I love these classical tales, their versatility, and their ability to speak to every generation anew. In the often stressful environment of Cambridge, it was a rare and welcome moment that reignited my passion for classics.

‘Antigone’ is showing at the Corpus Playroom from Tuesday 25 February until Saturday 1 March, at 7pm.

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