Review: ANTIGONE [ON STRIKE], Park Theatre

Sophocles is the blueprint for an interactive exploration of the public opinion of extremism in Antigone [on strike]. The piece is highly charged with political intent, bringing to light the experiences of many women who became so-called ‘ISIS Brides’.

Following a story influenced by Shamima Begum's case, the audience votes to alter the intervention into Esmeh’s fate, who left the UK at 14 to join the Islamic State in Syria and is now trapped in a refugee camp. When her sister Antiya launches a hunger strike to bring her back to London to stand a fair trial, she gets embroiled in a media frenzy that nobody knows how to handle, not the Home Secretary, not those who support her.

The Sophoclean tragedy resounds as an echo, with Antiya fighting against the consequences of Esmeh’s decisions boldly. Writer and director Alexander Raptotasios frames his adaptation with an unrelenting, shocking demand for feedback and response. Scenes are paused by the chorus (Sorcha Brooks), who jumps into different shoes throughout, becoming narrator, television presenter, and active participant in the arguments accordingly.

We're asked to intervene on the spot and what happens next is decided with alarming, anonymous democracy. It's a whirlwind of facts, with extended dialogue intervalling high-energy (and frankly chaotic) newsrounds and programmes à la Question Time or Debate Night. The stakes are morbidly thrilling.

It all unfolds on a stark white set by Marco Turcich, which is part sacrificial altar and part classical courtroom with a large throne-like seat. Projection-heavy and attractively multimedia, it challenges all preconceived notions, questioning the meaning of justice and the politicisation of human life. Antiya’s fight to bring her sister back isn’t fought fairly from either side.

Phil Cheadle is the ruthless conservative Home Secretary who’s leading the government’s efforts to identify Esmeh as a terrorist who needs to face formal repercussions in Syria. He knows how to manipulate the media and the police are in his figurative pocket.

Antiya, on the other corner of the ring, is a resourceful young woman who’s edging towards despair. Hiba Medina offers a sophisticated performance that finds flaws in the youth of her character and highlights the contradictions of Esmeh’s journey. Raptotasios spices things up with Eammon’s presence, the Home Secretary’s son (Ali Hadji-Heshmati in an impressive stage debut) whose mixed-race identity has been exploited for his father’s benefit. It creates a riveting balance managed by Brooks, who fans the flames of the polemic by polling the crowd regularly.

At its heart, Antigone [on strike] is a debate in the shape of a play. Perfunctory outrage coexists with arbitrary do-goodery in a production that’s as imperfect as the discussion of its core subject. 

The script breaks down the issues with precision and care, but the rhythm swings between spirited excitement and exacting exposition. While some of the slower moments act as respite from the overly turbulent media input and aggressively opinionated transitions, others end up dragging their feet in their search for empathy, making the final product a bit of an uneven rollercoaster. The multi-media and multi-dimensional nature of the project makes for an inspired direction and vision, but we find that the most alluring element of it all lies in a more traditional part: the chorus. Subtly taunting and teasing, Brooks waltzes around the stage, chimeric, taking pleasure in asking questions that don’t have an easy answer, revealing the hypocrisy and prejudice in the room.

Raptotasios toys with genre and form, building upon the great tragic tradition to address a faceted and slippery discourse. The blaming game that develops momentarily shifts the focus from the conversation about human rights and justice, while the near-constant interjections of the media divert the attention further. Dynamic in style and acumen, it’s a play that justifies the trip to Finsbury Park. There is, however, the issue that some of the images used for the projected feeds look very much like AI...

Antigone [on strike] runs at the Park Theatre until 22 February

To post a comment, you must register and login.