English translation is star of Greek tragedy

CHARLESTON — Early on in the production of “Burial at Thebes,” the ruler of the city declares, “You are for us or against us.”
After that, it’s hard not to think of another ruler known for such certainty.
George W. Bush is who Irish poet Seamus Heaney had in mind when he did this translation of Sophocles’ “Antigone” several years ago. England’s Nottingham Playhouse, making its Spoleto Festival USA debut, doesn’t over- emphasize the playwright’s contemporary concerns in its production.
With minimal sets, period costumes and a simple, declarative approach to the language, this is probably close to what the Greeks experienced in 450 B.C. when the play was new.
Because the production is outside at the College of Charleston (a first for a play at the festival), the actors even get to perform in front of an American version of a Greek temple.
The play begins after two brothers are killed in battle, Eteocles defending Thebes and Polynices attacking. Ruler Creon orders that the body of Polynices be left for the dogs and vultures. Anyone who mourns him or buries him will be executed.
But his sister, Antigone, decides that she answers to the laws of gods, not men. (That Antigone and her brothers are the children of Oedipus complicates things, because their mother was Oedipus’ wife and mother, so there are plenty of feelings of being cursed.)
Creon brings up the rule of law several times and will not listen to reason or admit he made a mistake. His son Haemon, who is betrothed to Antigone, gently tries to persuade him, but is badly rebuffed.
Long story short, Creon has Antigone bricked up in a cave. Then, too late, he changes his mind — too late for Antigone, for Haemon and for Creon’s wife, Eurydice. Not a happy ending.
The company turns in a sturdy job, with half the 10-member cast performing as part of the chorus as well as in named roles. Guided by director Lucy Pittman-Wallace, they tap into the wide range of emotions that both the original and Heaney’s translation intended, but do so in a formal, restrained manner that can be a little cold at times.
Pittman-Wallace has given the chorus a little twist by having it sing most of its lines, accompanied by lute, recorder and drum. The actors’ voices are amplified, which seems unnecessary. Because there’s no set to speak of — a circular wooden wall with a doorway and a bowl — the lighting does a great deal of scene-setting.
The major attraction really is Heaney’s script, especially for those familiar with other translations. He tosses in the occasional laugh, having a guard play off the lines “you take the high road and I’ll take the low road.” The terms “patriot” and “security” appear. And the phrase “beyond the pale,” which literally means outside the walls, is used several times. Still, nothing feels too heavy-handed.
Several times during Thursday night’s performance, huge military transport planes based in Charleston passed over, at one point making an actor stop speaking for nearly a minute. Since this is a play about war and its aftermath, it fit in perfectly.
“Burial at Thebes” continues at 8:30 p.m. tonight through Monday at The Cistern, 66 George St.