Antigone at Tron Theatre, Glasgow: Holly Howden Gilchrist on the epic Tragedy of embodying the younger sister (Interview)

Holly Howden Gilchrist is Ismene in a new modern-day rendition of Sophocles’ Antigone at the Tron Theatre. She talked to us about her experience embodying the tragedy of a younger sister, torn between sisterly love and being the voice of reason, working with Eilidh Loan and giving a new Scottish voice to this ancient text.

Antigone goes to such lengths to fight for her brother’s right to a proper burial. We often see romantic love explored in drama, but not as much as this kind of love between siblings. What do you think makes that relationship so powerful?

It’s rare to see an authentic sibling relationship portrayed in drama, and to see how complex some of them can be. When it’s a familial relationship, there are so many different factors and complexities that make it so nuanced and interesting. Something that we really wanted to make sure we embedded in the play was how, with your sibling or with someone that close to your family, there is a different level of comfort, which is especially significant in this case because it’s about two teenage girls.

This is being described as a modern-day take on Antigone. What can audiences expect from this version, and how much of the original text have you kept?

The play is very firmly set in the modern day, but it’s been done in a way that it could be anywhere. It’s timeless and placeless in a way. All these themes – loss, grief, justice, and wanting to do the right thing – are so modern, but because of the ancient Greek tie to the gods, life after death and other myths, I think that can feel difficult to relate to for a modern audience. Hopefully, bringing it into a more modern setting will make it more accessible.

There are only two actors in the main cast. What’s it like working on a production with such a small cast?

It’s been really interesting to just do it as a two-hander. We embody the other characters in it as well, and narrate the story. There are a lot of interesting storytelling devices that make this possible. In rehearsals, the focus is constantly on the two of us, and it’s a hefty piece of writing. But Eilidh is so playful and fun, which is needed with this kind of heavy text. You need the light moments to be light, so the dark moments can be dark.

The text rotates around two women, and there are only two of you on stage. How does it feel in terms of female representation in the arts? 


It’s brilliant. It’s this massive Greek tragedy, an epic, but on the stage it’s just two Scottish girls being sisters using their own accents. It’s amazing that this adaptation allowed that to happen. It definitely is a story about women as well, and that kind of sister relationship.

Does using your own accent help you connect with the emotions differently?

Definitely, but I love being able to play people far away from myself. This is the first time in a while that I’ve played someone who feels this close to home. In a way, it’s harder, because there’s more vulnerability to it. So yes, using your own voice makes it easier to access.

Ismene is caught between wanting to stand by her sister and being afraid of what might happen. She feels like the character who voices what the audience might be thinking. How do you approach playing someone in that position?

Being just the two of them in this adaptation, the writer took some creative license with her story. She is a fully fleshed-out character with her own arc. The original text is more focused on Antigone and Creon. Ismene has that kind of curiosity that comes with being a younger sister; she is the one who’s constantly putting out the fires that Antigone’s lighting. But she still idolises her, so there are a few instances where she tries to be a little bit more like her sister.

Has your off-stage relationship with Eilidh affected the way you approach Antigone and Ismene’s relationship on stage?

She’s just so playful and has so many ideas. It’s been a really lovely rehearsal room. It’s been very free. Nothing was set too early on. Finn, our director and Vicky, our movement director, really helped that as well. It’s been great being just the two of us. We just spent loads of time together, and got to know each other both as people and then as the characters.

The Tron is such an iconic theatre and a really special space for theatre in Glasgow. Is this your first time performing there?

I did my very first professional job at the Tron a little more than a year ago. 
It’s the loveliest building and the nicest people to work for.
 You arrive in the morning, and there is just this welcoming and friendly atmosphere. It’s also basically my local theatre, so it’s so lovely to be back and be doing another amazing play.

Antigone, Tron Theatre, Glasgow, 18th September till 10th October

Main photo credit: Mihaela Bodlovic