Showing posts with label Antigone. Show all posts
Showing posts with label Antigone. Show all posts

Thursday, March 12, 2026

Off-Broadway Reviews: Antigone (This Play I Read in High School); Marcel on the Train

Celia Keenan-Bolger and Susannah Perkins
in Antigone (This Play I Read in High School).
Credit: Joan Marcus
There have been numerous attempts at updating Greek tragedy. This season alone the tale of Oedipus has seen a new modern version from Robert Icke and a revival of the gospel musical adaptation. Anna Ziegler has taken on the shattering narrative of Oedipus’ equally benighted daughter Antigone in a searing retelling through a modern lens. Subtitled (This Play I Read in High School), this Antigone is still a devastating portrait of female defiance of male oppression but goes several steps further. 

In Sophocles’ original, Antigone is condemned to death for giving her brother a decent burial in defiance of the king, her uncle Creon who wants the body to be left to the vultures for political reasons. In Ziegler’s skillful melding of myth and modern issues, the heroine is to be killed by the state for having an abortion. This is a chillingly relevant adjustment since so many states have made such an operation illegal since the overturning of Roe V. Wade and some have gone so far as to equate abortion with homicide, punishable by lengthy prison sentences. (The state of Tennessee just unsuccessfully attempted to make execution the penalty.) How many Antigones are there in America today?


Ziegler answers that query by combining a contemporary woman’s story with a version of the original that takes place simultaneously in the past and the present. Celia Keenan-Bolger compassionately plays the Chorus who interweaves her 2026 story of an unwanted pregnancy with Antigone’s tale after meeting a punky, self-possessed teenager (the magnificently spiky Susannah Perkins) who happens to reading the play across the aisle from her on an airplane. We then travel to a Thebes not unlike our contemporary society where the new king Creon (a searingly self-doubting Tony Shalhoub) strives to bring rigid order to the moral chaos left behind by his predecessor Oedipus, who had unwittingly married his own mother.