REVIEW
Southend Shakespeare Company presents
ANTIGONE
by Sophocles
Dixon Studio, Palace Theatre, Westcliff
29th April - 3rd May 2025
Southend Shakespeare Company presents
ANTIGONE
by Sophocles
Dixon Studio, Palace Theatre, Westcliff
29th April - 3rd May 2025
I have to confess that my first thought when coming to see the latest Southend Shakespeare Company play was that this was going to be a bit too highbrow for me. Reviewing a Greek tragedy is a first for me and although I am obviously aware of Sophocles and his writings, Antigone is one that I was not familiar with. Thus, I took my seat at the Palace Theatre’s Dixon Studio with the slightly nervous anticipation that I wouldn’t have a clue what was going on.
Fear not, thankfully, under the directorial prowess of Dave Lobley (assisted by Denis Foot) this production will have you gripped from the moment Megan Condon who plays the titular role delivers her first line.
Taking place in the war torn city of Thebes, Antigone’s two brothers have both died fighting for the throne. One has been given a soldier’s burial whilst the other, Polynices, has been deemed a traitor for committing a crime against the state and has been forbidden a burial by the triumphant King Creon who wants his body to rot in the soil. Anyone seen to attempt to bury him will be executed.
Antigone has arranged to meet her sister, Ismene, emotively played by Katie Bysouth, telling her that she will bury her brother as an act of loyalty to her family and that she will risk death herself if it means that she will meet her brother again in the afterlife; a belief that was held strong in Greek mythology. Ismene is reticent and fearful, despite her love for her sister but Antigone is adamant that she will follow God’s law of common human decency and will fulfil her mission.
The great thing about this production is that it has been given a modern day backdrop with a relatable and understandable script (translated by Don Taylor). Set in what looks like a ministerial office, this is the hub of where the action takes place and the traditional Greek Chorus has been replaced by a body of office clerks and secretaries working on laptops and iPads, constantly busy and waiting in the background to appease their leader. They are a sycophantic bunch but it becomes clear that they can see past Creon’s questionable leadership skills and have an affinity for the plight of Antigone but lack the power to be able to do anything about it.
Creon is certainly a force to be reckoned with and Ben Smerdon has totally immersed himself into this role giving a powerful and fully investable account of a leader who has no qualms about his decision making. This is a brilliant performance. Smerdon holds himself as Creon with conviction and has put himself right up there with the best of the best within the SSC in this role. He is a joy to watch.
This is a strong Southend Shakespeare Company cast and it’s a big one; there are 15 actors all told appearing in this production and with the majority of them all on stage at the same time this must have been a huge challenge for director, Dave Lobley. However, the best way I can describe this play is that you almost feel like you’re watching a fly-on-the-wall documentary because for the most part, there is always action taking place - just like in real life - yet this never really detracts from the main focus. A lot of this cast are new to the SSC and it’s refreshing to see some different faces on stage. Lobley has clearly nurtured them well as all of the ensemble work well together and deliver their lines faultlessly.
Megan Condon’s Antigone is strong and decisive. She could be seen as a martyr to her cause but she doesn’t let emotion get the better of her, unlike her sister, and is essentially determined to do right by her family. Similarly to Smerdon, Condon gives a committed and controlled performance where the audience cannot help but feel her pain.
There are plot twists when we discover that Antigone is betrothed to Creon’s son, Haemon and there is a massive confrontation between father and son that really builds to an almighty crescendo and is brilliantly played by the two; Parker-Jace Martin taking on the role of Haemon. I would perhaps question the age differences here though.
Tom McCarthy should also be commended for his role as the soldier, one that could easily be overplayed as a fool, but McCarthy has the balance just right here and we see a very human portrayal of a soldier who wants to do his job right, yet feels guilty arresting Antigone when he catches her burying her brother, but also doesn’t want to be killed by Creon. There’s a flicker of morality that redeems him before he is set free.
Antigone's punishment is to be imprisoned in a tomb of stone where she will be left to die.
A pivotal moment is when Teiresias, the blind prophet, appears with her Girl - a fabulous entrance enhanced by the lighting and sound experience that accompanies this moment. In fact lighting and sound throughout are used to great atmospheric effect, making each scene change feel almost like a news flash.
Jo Seymour as Teiresias is as mesmerising as she is terrifying in this brief but captivating performance. I definitely wouldn’t want to be messing with her, and Creon is left suitably terrified by her ‘advice’. Her Girl (Jess Ackland) never lets her stare veer away from Creon while her mistress is speaking with her eyes boring into him as intensely as Teiresias’ words.
The action moves at a good pace in this production and there are certainly some moments of open-mouthed awe as the cast command the stage to the bitter and bloody end.
With underlying themes of betrayal, morality, misogyny and power, it’s incredible to think that this play is 2,466 years old and that essentially people haven’t really changed. It’s a fabulous watch and one that will keep audiences captivated throughout. It’s also just 2 hours long including interval so you’ll be able to get the bar before 10pm for a chance to reflect, over a pint, on just who is the tragic hero of this iconic tale.
Review: Kim Tobin
Fear not, thankfully, under the directorial prowess of Dave Lobley (assisted by Denis Foot) this production will have you gripped from the moment Megan Condon who plays the titular role delivers her first line.
Taking place in the war torn city of Thebes, Antigone’s two brothers have both died fighting for the throne. One has been given a soldier’s burial whilst the other, Polynices, has been deemed a traitor for committing a crime against the state and has been forbidden a burial by the triumphant King Creon who wants his body to rot in the soil. Anyone seen to attempt to bury him will be executed.
Antigone has arranged to meet her sister, Ismene, emotively played by Katie Bysouth, telling her that she will bury her brother as an act of loyalty to her family and that she will risk death herself if it means that she will meet her brother again in the afterlife; a belief that was held strong in Greek mythology. Ismene is reticent and fearful, despite her love for her sister but Antigone is adamant that she will follow God’s law of common human decency and will fulfil her mission.
The great thing about this production is that it has been given a modern day backdrop with a relatable and understandable script (translated by Don Taylor). Set in what looks like a ministerial office, this is the hub of where the action takes place and the traditional Greek Chorus has been replaced by a body of office clerks and secretaries working on laptops and iPads, constantly busy and waiting in the background to appease their leader. They are a sycophantic bunch but it becomes clear that they can see past Creon’s questionable leadership skills and have an affinity for the plight of Antigone but lack the power to be able to do anything about it.
Creon is certainly a force to be reckoned with and Ben Smerdon has totally immersed himself into this role giving a powerful and fully investable account of a leader who has no qualms about his decision making. This is a brilliant performance. Smerdon holds himself as Creon with conviction and has put himself right up there with the best of the best within the SSC in this role. He is a joy to watch.
This is a strong Southend Shakespeare Company cast and it’s a big one; there are 15 actors all told appearing in this production and with the majority of them all on stage at the same time this must have been a huge challenge for director, Dave Lobley. However, the best way I can describe this play is that you almost feel like you’re watching a fly-on-the-wall documentary because for the most part, there is always action taking place - just like in real life - yet this never really detracts from the main focus. A lot of this cast are new to the SSC and it’s refreshing to see some different faces on stage. Lobley has clearly nurtured them well as all of the ensemble work well together and deliver their lines faultlessly.
Megan Condon’s Antigone is strong and decisive. She could be seen as a martyr to her cause but she doesn’t let emotion get the better of her, unlike her sister, and is essentially determined to do right by her family. Similarly to Smerdon, Condon gives a committed and controlled performance where the audience cannot help but feel her pain.
There are plot twists when we discover that Antigone is betrothed to Creon’s son, Haemon and there is a massive confrontation between father and son that really builds to an almighty crescendo and is brilliantly played by the two; Parker-Jace Martin taking on the role of Haemon. I would perhaps question the age differences here though.
Tom McCarthy should also be commended for his role as the soldier, one that could easily be overplayed as a fool, but McCarthy has the balance just right here and we see a very human portrayal of a soldier who wants to do his job right, yet feels guilty arresting Antigone when he catches her burying her brother, but also doesn’t want to be killed by Creon. There’s a flicker of morality that redeems him before he is set free.
Antigone's punishment is to be imprisoned in a tomb of stone where she will be left to die.
A pivotal moment is when Teiresias, the blind prophet, appears with her Girl - a fabulous entrance enhanced by the lighting and sound experience that accompanies this moment. In fact lighting and sound throughout are used to great atmospheric effect, making each scene change feel almost like a news flash.
Jo Seymour as Teiresias is as mesmerising as she is terrifying in this brief but captivating performance. I definitely wouldn’t want to be messing with her, and Creon is left suitably terrified by her ‘advice’. Her Girl (Jess Ackland) never lets her stare veer away from Creon while her mistress is speaking with her eyes boring into him as intensely as Teiresias’ words.
The action moves at a good pace in this production and there are certainly some moments of open-mouthed awe as the cast command the stage to the bitter and bloody end.
With underlying themes of betrayal, morality, misogyny and power, it’s incredible to think that this play is 2,466 years old and that essentially people haven’t really changed. It’s a fabulous watch and one that will keep audiences captivated throughout. It’s also just 2 hours long including interval so you’ll be able to get the bar before 10pm for a chance to reflect, over a pint, on just who is the tragic hero of this iconic tale.
Review: Kim Tobin
CURTAIN CALL
with Megan Condon, 27, from Benfleet
When did you start to take an interest in theatre? Did you take part in any productions at school?
For my 7th birthday, my parents took me to see a production of Annie at the Cliffs Pavillion. I was absolutely in awe of the girls in the show and their ability to stay focused and in character their whole time on stage. In the interval I told my parents I wanted to start acting classes, and that was that!
Are or were any members of your immediate family involved in drama?
Not in drama no, but my family (including my dad and twin) are very musical- they are in various bands and play a whole range of instruments.
Have you done any sort of formal training for acting/singing/dancing?
Not formally; I was a part of the Palace Theatre Youth Group in my late teens. I also did a lot of dance and musical theatre as a child, and last year I took up ballet again which I absolutely love.
Do you have any specialist skills – anything from stilt walking to dress-making – which you work into your repertoire?
The one skill that I would absolutely love to get into a play one day is that I can solve a Rubik’s cube. I’m not convinced it would be the most interesting thing to watch me do, but if anyone knows any plays that I could do this in then let me know!!
Which experience/role do you regard as the highlight of your amdram career to date?
I would say that Hedda Gabler in 2023 was a massive learning curve for me- it was a great experience with some really talented cast members and I really felt that I learned a lot. The directing team and all the crew were fantastic and we were all gutted when it was over; it felt like we had just spent a week on holiday with all our friends!
What has been your most embarrassing moment involving drama, on or off stage?
In A Midsummer Night’s Dream, I had to get changed on stage behind a big sheet being held up by another actor. One performance, I went on stage without the outfit I was meant to be changing into, and had to reappear from behind the sheet looking exactly the same as before, probably to much confusion from the audience and the actors! I was mortified, but never forget that costume again for the rest of our run!
How do you earn your living?
Until recently I was a teacher. Now I work for Essex council supporting Essex schools in their provision for autistic young people.
Following on from the previous question, has your theatre career ever been useful in your day job, and/or have you ever drawn on your day job for any of your stage activities?
Absolutely. When I was teaching, I loved being involved in the productions- my favourites were Matilda with secondary school students, and A Midsummer Night’s Dream with year 6. Getting year 6 students to enjoy, understand and perform a Shakespeare play was quite daunting, but it went brilliantly and they were all fantastic. I also have definitely used my “teacher voice” both onstage and backstage!
Are your friends mostly involved in theatre - perhaps even working with you on a regular basis - or do you socialise across a wider circle?
I am so lucky to be able to call so many of the members of Southend Shakespeare Company my friends, and it is always so wonderful to get to work with each other and spend time together during show week. I do have friends from a wider circle too, and it’s a bit nerve wracking but equally exciting when they come to see our shows.
\
Which actor do you most admire and why?
At the moment, I have been obsessed with anything featuring Ted Danson. He plays very similar roles in his most recent work, but he just does it so well! I also recently saw Imelda Staunton in Hello Dolly and I was in absolute awe throughout the whole show at what a little powerhouse she is, and the hold she had over the audience. She was brilliant and an absolute inspiration.
What role would you most like to play and why?
I don’t really have any particular parts I am desperate to play, I just love to be involved in anything. After Antigone, I think it would be refreshing to get to play with a bit more humour and silliness. I love making people laugh, but I think that is a bit difficult in a Greek tragedy!
Ever corpsed on stage? What happened?
Luckily not yet, although if you ever catch me pinching my fingers on stage then you’ll know I’ve reached my last resort to stop myself giggling!
Tell us a bit about your part in "Antigone".
I am playing Antigone; a feisty, courageous, family-driven young girl who finds herself caught between choosing the right thing to do either morally or lawfully. Her actions and decisions impact her future and- unknowingly for her- the futures of many people around her. The original Sophocles script is 2,462 years old, so it’s probably the oldest play I will ever get the chance to perform, although of course ours is a much more recent translation. We have had such a brilliant time in rehearsals, and I can’t wait to get into the theatre now!
Any plans for the future, after "Antigone?”
I will be performing in The Miser by Moliere in May, and in our summer production of Twelfth Night throughout July.
Any tricks for remembering your lines or other useful tips to pass on to others involved in drama?
For me, I always try to learn my lines before rehearsals start, which allows me more freedom as we rehearse. I would say repetition works for me, just reading and rereading the text constantly, and you’ll be surprised how quickly you pick it up. I force myself to read my lines every night just before I go to sleep, which is difficult sometimes but worth it.
For my 7th birthday, my parents took me to see a production of Annie at the Cliffs Pavillion. I was absolutely in awe of the girls in the show and their ability to stay focused and in character their whole time on stage. In the interval I told my parents I wanted to start acting classes, and that was that!
Are or were any members of your immediate family involved in drama?
Not in drama no, but my family (including my dad and twin) are very musical- they are in various bands and play a whole range of instruments.
Have you done any sort of formal training for acting/singing/dancing?
Not formally; I was a part of the Palace Theatre Youth Group in my late teens. I also did a lot of dance and musical theatre as a child, and last year I took up ballet again which I absolutely love.
Do you have any specialist skills – anything from stilt walking to dress-making – which you work into your repertoire?
The one skill that I would absolutely love to get into a play one day is that I can solve a Rubik’s cube. I’m not convinced it would be the most interesting thing to watch me do, but if anyone knows any plays that I could do this in then let me know!!
Which experience/role do you regard as the highlight of your amdram career to date?
I would say that Hedda Gabler in 2023 was a massive learning curve for me- it was a great experience with some really talented cast members and I really felt that I learned a lot. The directing team and all the crew were fantastic and we were all gutted when it was over; it felt like we had just spent a week on holiday with all our friends!
What has been your most embarrassing moment involving drama, on or off stage?
In A Midsummer Night’s Dream, I had to get changed on stage behind a big sheet being held up by another actor. One performance, I went on stage without the outfit I was meant to be changing into, and had to reappear from behind the sheet looking exactly the same as before, probably to much confusion from the audience and the actors! I was mortified, but never forget that costume again for the rest of our run!
How do you earn your living?
Until recently I was a teacher. Now I work for Essex council supporting Essex schools in their provision for autistic young people.
Following on from the previous question, has your theatre career ever been useful in your day job, and/or have you ever drawn on your day job for any of your stage activities?
Absolutely. When I was teaching, I loved being involved in the productions- my favourites were Matilda with secondary school students, and A Midsummer Night’s Dream with year 6. Getting year 6 students to enjoy, understand and perform a Shakespeare play was quite daunting, but it went brilliantly and they were all fantastic. I also have definitely used my “teacher voice” both onstage and backstage!
Are your friends mostly involved in theatre - perhaps even working with you on a regular basis - or do you socialise across a wider circle?
I am so lucky to be able to call so many of the members of Southend Shakespeare Company my friends, and it is always so wonderful to get to work with each other and spend time together during show week. I do have friends from a wider circle too, and it’s a bit nerve wracking but equally exciting when they come to see our shows.
\
Which actor do you most admire and why?
At the moment, I have been obsessed with anything featuring Ted Danson. He plays very similar roles in his most recent work, but he just does it so well! I also recently saw Imelda Staunton in Hello Dolly and I was in absolute awe throughout the whole show at what a little powerhouse she is, and the hold she had over the audience. She was brilliant and an absolute inspiration.
What role would you most like to play and why?
I don’t really have any particular parts I am desperate to play, I just love to be involved in anything. After Antigone, I think it would be refreshing to get to play with a bit more humour and silliness. I love making people laugh, but I think that is a bit difficult in a Greek tragedy!
Ever corpsed on stage? What happened?
Luckily not yet, although if you ever catch me pinching my fingers on stage then you’ll know I’ve reached my last resort to stop myself giggling!
Tell us a bit about your part in "Antigone".
I am playing Antigone; a feisty, courageous, family-driven young girl who finds herself caught between choosing the right thing to do either morally or lawfully. Her actions and decisions impact her future and- unknowingly for her- the futures of many people around her. The original Sophocles script is 2,462 years old, so it’s probably the oldest play I will ever get the chance to perform, although of course ours is a much more recent translation. We have had such a brilliant time in rehearsals, and I can’t wait to get into the theatre now!
Any plans for the future, after "Antigone?”
I will be performing in The Miser by Moliere in May, and in our summer production of Twelfth Night throughout July.
Any tricks for remembering your lines or other useful tips to pass on to others involved in drama?
For me, I always try to learn my lines before rehearsals start, which allows me more freedom as we rehearse. I would say repetition works for me, just reading and rereading the text constantly, and you’ll be surprised how quickly you pick it up. I force myself to read my lines every night just before I go to sleep, which is difficult sometimes but worth it.
A powerful king and a brave young woman’s momentous battle for their country’s security and their family’s rights. See Sophocles famous tragedy, as Southend Shakespeare Company present a dynamic, highly charged political thriller for our times. State versus the individual, family loyalty, crime, morality and equality. Written 2,466 years ago it could have been yesterday. Who is the tragic hero? You must decide. Don’t miss it.
For more information about the SSC visit their website at
www.southendshakespeare.org.uk
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For more information about the SSC visit their website at
www.southendshakespeare.org.uk