Review: Bitch, Antigone 🌟🌟🌟🌟

TheatreΒ (comedy, lgbt)

Bitch, Antigone

The Space on the Mile 20:50

Β Aug 6-10, 12-17, 19-24

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Woe! The great actor Mynniscus weeps! Woe! It is not in a celebrated role before an adoring audience but offstage, consumed with despondency and the agonies of a lifetime of Greek tragedy, filling the emptiness with cheesy puffs. Woe! The Dionysian Festival Fringe has already begun and a production of Sophocles’ Antigone is due to be performed forthwith, and the bitch is already sozzled…

A regular Fringe attraction playing to hard-earned sell-out houses with Mister Braithwaite Has a New Boy, Monstrous Acts and Distinguished Gentlemen, the Australian reprobates of Out Cast Theatre are back for another run of outrageous disrespect to the classic texts with Bitch, Antigone, written and directed by Steven Dawson who also chews the scenery and the very flesh of his conniving co-stars as Mynniscus.

Even on a preview night with stepped-on lines, the performance is riotous and the audience screeching with laughter at the liberties taken by Dawson as the bereaved Antigone, Matthew Roberts as the egotistical veteran actor trying to upstage him as cruel King Creon and Scott Middleton as the talented newcomer determined to make a name for himself as Antigone’s sister Ismene, modelling a new line in power grieving.

Out Cast having twice performed Dawson’s Wildely satirical The Importance of Being Earnest as performed by 3 F*cking Queens and a Duck in previous seasons, Bitch, Antigone does follow the same pattern though perhaps suffers from being adapted from a source which will not be as immediately familiar to those lacking a classical education, but that should not dissuade audiences who will catch on swiftly.

In matching sandals, pleated togas and wigs of golden fleece, the jokes tumble out sometimes too fast to process, some of them bawdy, some literary, some of them linguistic, with occasional diversions into Home and Away, but all are insulting and inventive, a mosaic of unhinged acting styles utilising the traditions of theatre from ancient Greece to modern drag, and the true tragedy would be to miss it.

Michael