This year’s Might Players’ Freshers’ annual play was the classical Greek Sophoclean tragedy Antigone. Antigone tells the tragedy of a young woman whose recently deceased brother has been banned from burial by her uncle, the new King. A powerful play tackling deeply emotive issues, this production utilised a new translation by Anne Carson, with director Myles O’Gorman leading an innovative and engaging production that paid homage to the heritage of the ancient play whilst adding a modern twist.

The sacral interior of the Selwyn College Chapel is an excellent choice. The interiors created a spiritual, mysterious, terrifying and dramatic atmosphere, preparing the audience for the tragedy that is to unfold during the play. Antigone starts with a bang as the lights are turned off, instantly evoking a sense of suspense. A projection appeared on the walls surrounding the altar, showing the war that was tearing the city of Thebes apart. The loud sounds of the battlefield are the intertwining blend of screams of warriors, voices of crying children, with blasts and shots of artillery. The civil war in Thebes in this production was characterised by the now-familiar sight of 21st century Middle Eastern regional war. This was a great choice of film, which indicated the timelessness of the issues of the play.

The chapel remained atmospherically filled with darkness for much of the performance, as the lights were frequently dimmed or turned off. A greatly selected piece of dark music performed by Stephanie Friend, the sound director, added an important element to the play, highlighting and drawing our attention to key moments throughout. One of the most dramatic parts of the production was the appearance of the chorus. The chorus were dressed in torn clothes, their bodies and garments stained with soil and grease, a powerful presence every time they appeared on the stage. The modern setting of the play was emphasised by the costumes designed by Phoebe Bright, who cleverly linked this contemporary production with its classical heritage through the use of masks. As in ancient Greek productions of Antigone, at the end of the performance the actors wore white masks, and the same masks decorated the chapel throughout the play.

There was some excellent acting on offer. Sophie Taylor was a passionate and lively Antigone, perfectly capturing Antigone’s dedication to the cause that she believes is worth her life. She formed a complete contrast to James Martin’s calm and soft-spoken Creon. Martin encapsulated Creon’s pride and despotism, providing some fantastic moments of acting. Stanley Thomas as Haemon was truly captivating. His raving grief and pain were overwhelmingly touching. This was a dark, tense and harrowing production, which left me totally spellbound.