At Park Theatre, Antigone [on strike] reshapes Sophocles’ tale into a chillingly relevant exploration of identity, control, and public judgement. Inspired by the story of Shamima Begum, it places us inside a courtroom where power dynamics are laid bare and personal tragedy becomes political spectacle. It’s a concept full of potential, though its relentless delivery threatens to drown out its emotional resonance.
The courtroom setting looms – stark, white, and devoid of warmth. This replica of the House of Commons doesn’t just dominate the stage; it traps the characters, reinforcing the crushing weight of institutional authority. Hiba Medina delivers a striking performance as Antiya, a woman caught between grief and rage as she fights for her sister Esmeh’s return. Medina’s portrayal gives the play its emotional core. Her Antiya is exhausted but unrelenting, her pain always just below the surface, shaping every decision she makes.
A sobering reminder of how public trials strip people of both agency and humanity
Hanna Khogali brings a quiet vulnerability to Esmeh, the young woman at the heart of the debate but largely voiceless in the proceedings. Ali Hadji-Heshmati’s Eamonn offers a layered performance, his character wavering between loyalty and discomfort with the public narrative unfolding around him. Sorcha Brooks, as the Home Secretary, conveys the tension of someone carrying both political responsibility and media scrutiny. Phil Cheadle’s Creighton observes the courtroom chaos with a sharp detachment, a reminder of how systems depersonalise even the most intimate crises.
Audience participation is threaded into the experience, with keypads allowing the audience to vote on decisions throughout the performance. It is an intriguing addition, though its impact feels more symbolic than transformative. The votes reflect how public opinion can be manipulated, but they do little to change the play’s emotional trajectory.
The production’s pacing pushes relentlessly forward, with overlapping voices and frenzied exchanges that evoke the disorienting buzz of media headlines and political soundbites. While the tension is palpable, the lack of breathing room often dulls the emotional impact. I found myself straining to stay connected to the story, the key moments slipping past too quickly. And I wasn’t alone – the person in front of me nodded off a few times, a telling sign that the constant intensity had worn thin. Without moments of pause or reflection, the play’s most profound questions struggle to take hold.
Yet what lingers is the core question: who has the power to decide who belongs and who does not? The play doesn’t attempt to answer this, instead leaving us to confront the systems that dictate our collective fears and judgments. In its best moments, this production forces us to sit with that discomfort.
Final Thoughts ★★★
Would I recommend Antigone [on strike]? Yes. For those who can embrace its intensity, the play offers a searing portrait of power and exclusion. Medina’s performance and the courtroom’s symbolic weight provide much to reflect on. But for others, the chaos might overwhelm, leaving more fatigue than clarity.
Playing at Park Theatre until 22 February 2025.
Disclaimer: A complimentary ticket was provided in return for an honest and unbiased review.
More Reading
- A Queer Cowboy in the City: Lonesome’s Gritty Tale of Queer Longing and Discovery
- All of Us Strangers: A Hauntingly Beautiful Exploration of What Could Have Been
- Antigone [on strike] – A Modern Tragedy of Identity and Control
- Bear Traps at The Golden Goose Theatre: A Quiet Look at Family Ties and Black Holes
