![]() Brecht’s adaptation, staged in Switzerland in 1948, showed Creon as a Hitlerian tyrant who finally takes Thebes with him down to destruction. Jean Anouilh did a famous version, staged in occupied Paris in 1944, in which the heroine became a symbol of the resistance. ![]() Entitled Aaliyah (After Antigone), it shows two office cleaners challenging authority when they find their brother is being deported to Bangladesh by a recognisably vicious home secretary.īefore culture warriors start fulminating about desecration of a classic, one should point out that Antigone has always been open to adaptation. But the most radical rewrite appears to be that by Freedom Studios in Bradford. Both Merlynn Tong’s version at the Mercury in Colchester, which has a female Creon, and Hollie McNish’s at the Storyhouse in Chester emphasise the play’s modern relevance. Given that the heroine defies the Theban king, Creon, by burying her dead brother, Polyneices, maybe the collective noun should be “a disruption of Antigones”. T his October sees a rash of productions based on Sophocles’s Antigone. ![]()
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