Seamus Heaney’s 2004 reimagining of “Antigone,” “The Burial at Thebes,”  puts less emphasis on the plights of the titular protagonist and is more politically minded. In fact, while Antigone is our protagonist by nature, “The Burial at Thebes” follows the deterioration of King Creon, the only character who changes throughout the narrative. 

Successful revitalizations of past works rely on successful translation. Part of why “The Burial at Thebes” resonates so strongly with modern audiences is its re-contextualization in light of the Bush administration. Though the “Bushims” of Creon’s character and the political loyalties of the play aren’t quite subtle, they provide for a poignant subtext that is especially relevant given today’s inclination toward casual warfare. 

The play follows the procession of events after Antigone, the doomed daughter of the blinded and exiled Oedipus, honors her brother Polyneices after he dies a traitor to his country. Creon, having sentenced Polyneices to rot in the open due to his apostasy, sentences Antigone to death for her own disobedience and disloyalty. 

Unlike modern media where we generally see a lack of consequences, in “The Burial at Thebes,” we see consequences exaggerated to brutal extremes. 

NC State University Theatre’s production of “The Burial at Thebes” is a dismal one, stressing the drama and gumption characteristic of Greek plays. One finds their seat while stealing glances at a decaying city. As you wait for the play to begin, a sense of isolation is forced upon you through the dim, occasionally flickering lighting and the fuzzy recordings of political, wartime messages playing overhead. 

The set is grey-washed, modern, broken, a mixture of illusory cement and the metal skeletons of buildings. Structures are half-destroyed, visually highlighting the struggle that preceded the play’s events. 

The set provides for great lighting. The largest set piece—grey steps that have been partially demolished—takes center stage, allowing for the actors’ shadows to be cast across it for dramatic effect. Beneath the plastic veneers covering the dystopian jungle gym pieces on each side of the stage are bulbs that waver and blink in response to the events as they proceed. 

The abuse of power is a primary theme of “The Burial at Thebes,” which the play emphasizes through the main conflict between Antigone (Natalie Sherwood) and Creon (Philipp Lindemann).  “The Burial at Thebes” maintains less grey area than the original play. The two bark at each other furiously, Antigone embodying rightness and Creon obviously wrong. 

One can chart the shifts in dynamics throughout the play by studying who is standing on the pedestal, and who dwells below, listening.  We observe the differences between the wealthy and the impoverished, as well. The “have-nots” (Antigone, the members of Chorus ) wear patched and torn clothing, while the “haves” (Creon, Haemon, Eurydice)  are well-dressed to emphasize their prosperity. Creon’s tie clip glimmers while Antigone’s clothing appears shabbier by the minute. 

Sherwood dons a permanent scowl as Antigone, a perfect expression of the character whose brash determination seals her fate. She is vicious and often speaks facing forward, as though she is condemning the audience for her personal tragedy. She lashes out frequently against those who oppose her; she knows she is right, and allows no excuses. 

Lindemann as Creon in his red tie and rash words could only be more of a representation of George W. Bush if he glazed his words with a Texan accent. That is to say, he manages the role well, as this is how Heaney wrote Creon—as the impulsive leader who has too much power and doesn’t want to admit it. 

The production, as a whole, is thoroughly bleak and relentless in its cynicism. With little to no breaks of whimsy, the tone is rather overwhelming. Additionally, while the effects are made to instill a sense of austerity, the moans that come occasionally from behind the set pieces can be distracting at best and ridiculous at worst. They interrupt the experience that University Theatre’s “The Burial at Thebes” provides, and force viewers to remember that they are, in fact, watching a play. 

University Theatre’s latest production shines a harsh light on the power dynamics present in contemporary politics by successfully putting an ancient conflict in a modern context.