In this bold and dark retelling of Jean Anouilh’s Antigone, Edinburgh-based theatre company Mythography is led by French director Philomène Cheynet, bringing us an intense and shrouding take on this classic Greek tragedy to the Edinburgh Fringe. Featuring large plastic, opaque curtains hanging from the ceiling, masked figures and handheld light bars that highlight and shadow the characters on stage, this production focuses on all that is hidden in war and peace. Beginning the show with the cast standing backlit behind the opaque sheets and our narrator figure standing in front, we are immediately set up to receive both the aesthetic and thematic values of this play. Cheynet’s vision is strong and purposeful, holding value on the more experimental side of theatre as well as showcasing the raw emotion of the piece. The technical production is seamless – subtle but incredibly poignant – accompanied by a low droning soundtrack designed by Nicola Rivosecchi which captures the doom and intensity of the play.
The cast move as one, holding on to each other, twisting and winding around with cloths covering their faces as Antigone sits silent and still. The staging of this production is inventive and the movement, directed by Tsoi Huen Wong, adds depth and a sense of mystery and dramaturgy to Antigone. We as the audience are asked to decipher these simulacrums and metaphors presented. We can use our discernment to reach our own subjective conclusions, but the wide scope for interpretation means we never truly know if our perception is correct, aligning perfectly with the themes of this production. Antigone captures the stubborn and individualistic ways in which the characters react, but demonstrates that the characters all share this affinity, connecting them to the intertwining Greek chorus.
The cast are exceptional, performing with gusto and heart. Angus Morrison, who plays King Creon, captures both the calculated, sensible and sensitive side of Creon as well as the angry, bitter man who is dedicated to his duty. Morrison’s scene with Antigone, played by Clare Robinson, is powerful and shocking – the true nature of both of their characters is revealed to us and we realise all is not as it seems. Robinson is a wild and ferocious Antigone, showcasing Antigone’s willfulness and giving us a deeply layered character profile to dissect. Antigone’s fiancé Haemon is played by Noah Sarvesvaran, bringing us a sweet and innocent take on the character, which makes his demise hit even harder when we see his naivety and innocence being the cause of his lunacy. All the performers gave us an authentic, well-rounded and professional take on their characters. While not heavily featured throughout the play, the Nurse, played by Sarah Stanton, and Ismene, played by Giulia Barp both gave emotive and impactful performances. The narrator, played by Jamie-Richard Stewart, was a stand-out, performing with self-assuredness and naturalism that was close to perfection. As was Gabriel Bird who played the 1st Guard – Bird managed to execute both the comedy and the sensitivity of his character with ease. The entire cast are performers of a completely professional standard – perhaps the best cast in an amateur performance I have seen to date. This play is certainly one to watch with immense potential to expand as a production and as a company – I look forward to seeing where Mythography go next on their journey.
Antigone runs until the 24th of August at Institut français Écosse with tickets available at https://www.ifecosse.org.uk/festivals-and-series/vive-le-fringe-2025/#/
Reviewer: Jessie Martin
Reviewed: 3rd August 2025
North West End UK Rating: