So it didn’t take me too long to get National Theatre at Home’s streaming service. I knew they were going to get me sooner or later – I’ve spent enough years longing for an easier way to watch a National Theatre Live show than driving to a movie theater 60 miles away on a Tuesday night in November – but it was learning of the existence of this production that made me snatch up a subscription now. That’s right, two Doctors for the price of one today!
After King Oedipus reaches his tragic end, his sons come to blows over the rule of Thebes and end up killing each other in the resulting civil war. Their uncle Creon, who ascends the throne, forbids anyone from allowing one of the brothers, Polynices, the honor of burial. Oedipus’s daughter Antigone, having already suffered so much loss in her life, is horrified that Polynices is denied his rest in the sight of the gods, and she’s prepared to go against her uncle’s decree on it.
While I’ve read all of Shakespeare’s tragedies, Greek tragedy isn’t something I’ve gone too far into. I remember reading Oedipus Rex in high school, and I had a vague awareness of Antigone and knew she was somehow connected to Oedipus, but I also confused what scattered details I thought I knew of her story with Medea’s. I didn’t come into this with much foreknowledge is what I’m saying.
It’s heavy, to be sure, tragedy with a capital Copious Bloodshed. But it’s also very interesting, exploring the nature of the laws of gods and men (beyond the dishonor of being refused burial, Polynices won’t be able to enter the underworld if his body isn’t laid to rest.) It also asks, what is integrity? Is Creon a man of his word by not bending in his judgment, even when his own niece is the one who stands accused, or does a man’s integrity mean nothing if he values his word higher than his family?
It’s a nice production – I wouldn’t call it outstanding, but it’s well and capably done. This being the first performance I’ve seen of a Greek tragedy, it’s neat that they get staged in a wide variety of settings too. This one is set somewhere in the 20th century, probably the ‘60s or ‘70s, with much of the action set in and around Creon’s office and his staff serving as the chorus. In addition to our double dose of Doctors, I recognized Alfie Enoch (Harry Potter’s Dean Thomas) as one of Creon’s office staff, and I was pleased to see Luke Newberry, who I loved so much as Kieren on In the Flesh, pop up as Creon’s son/Antigone’s fiancé. On the downside, as is the all-too-unfortunate custom in theatre, the blind prophet Teiresias is played by a sighted actor; boo.
We’ll take our Doctors chronologically, starting with Christopher Eccleston. As Creon, he plays the unflinching ruler, rigid in his ideals to the point of destruction. Eccleston is commanding in the role, moving among the cast with a gravity that won’t be trifled with – I like the penny-drop moments when minor characters or members of the chorus lightly expect one reaction from him only to be hit by the brick wall of his implacability. Even though it’s Antigone’s actions that set the play in motion, Creon is actually the most central character. He’s the one with the power to change things, and Eccleston anchors much of the play as assorted characters plead Antigone’s case to him.
Which brings us to Jodie Whittaker in the title role. Like I said, Antigone is what the play is about more than who it’s about, so her role isn’t as prominent as I would’ve expected. She’s really only in about three extended scenes in the play – however, they’re all meaty and pivotal ones, and Whittaker makes the most of them. Her Antigone is pure ferocity fueled by grief and love, and she’s not about to let anything stop her. One line that I really loved was, “Our lives are short. We have too little time to waste it on men and the laws they make.” While others bargain on her behalf, she asks only that others not be pulled down with her and insists on doing what’s right, not what’s legal.
Even though the two performances are very different – Whittaker’s fiercer, Eccleston’s steadier – one thing they share is an ability to sound like they’re speaking their lines instead of reciting them. While I wouldn’t call the language here as dense as that of the average Shakespeare play, I came in knowing very little of the story and I could still easily follow the dialogue at all times.
Accent Watch
Christopher Eccleston – RP, pretty decent. I caught a few Northern-sounding vowels, but not many.
Jodie Whittaker – Northern.
Recommend?
In General – If you’re looking to take a crack at a Greek tragedy, this one is pretty good. That said, I get that tragedies aren’t for everyone, and even if they’re for you, you probably have to be in a certain mood for it. Go into this knowing that it will end well for basically no one.
Christopher Eccleston – I think so. It’s always interesting to see an actor onstage when you’re used to seeing them onscreen, and Eccleston acquits himself well – subtle, but he never gets lost in the larger action around him.
Jodie Whittaker – I would. As I’ve observed before with Whittaker’s body of work, she hasn’t been in an overadundance of projects that really give her something to work with, so I welcome any play/film/show that gives her a chance to let loose.
Warnings
Violence, strong thematic elements (including suicide and references to incest,) and an able-bodied actor playing a character with a disability.
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