Again and again, Max Webster’s direction bring visually exciting scenes as the parasitic paparazzi shine their flash cameras, moving together like predators. Co-director is Jo Tyabji and Carrie-Anne Ingrouille’s movement is mesmeric.  

In Act Two, Antigone and now with her sister Ismene, are under arrest.  She washed Polyneices’s body ready for the Janaza rites.  Antigone’s intended husband, Haimon (Oliver Johnstone) who is also Creon’s son, and his mother Eurydice (Pandora Colin), plead with Creon to reconsider the disgrace visited on Polyneices’s body and the imprisonment of Antigone.

It is quite thrilling to have these big ideas zapping across the darkening outdoor stage at the Autumnal Open Air.  Relevant to us as we consider what will deter terrorism and whom do you punish, the relatives of terrorists?  Eurydice makes a moving speech to her husband-to-be and organises a march by the woman to music in another coup de theatre.  

The performances are strong throughout and Leslie Travers’s set is composed of huge pink foam letters making up Antigone’s name, which are cast aside as the play progresses.   The lighting is dramatic with the use of smoke and flares.

Antigone kills herself as Creon says to release her, but he is too late.  I really admire Inua Elllams for this stimulating re-interpretation of the Greek myth.