Sophocles has some catching up to do. Long before his unyielding Antigone took her place in one of the most monumental of world drama's agons, she was rehearsing more supple and playful identities for herself, along with some perturbing proposals for anyone who believes that there are only two sides to any conflict. This other Antigone—a pre-Antigone as much as a post-, whose story is later whispered into the ear of a puppet Sophocles to make his own—is boldly imagined by playwright Mac Wellman as a woman who not only understands that "all good things come in threes" (rather than twos), but who also possesses the ironic sense needed to make unexpected poetry out of such banalities. She's blessed, as Wellman's characters always are, with a robust confidence in the power of sentences to be journeys—heady and swift—and with an ease of movement among idioms that weave the archaic worlds of myth into our own prosaic one: "I am a stranger, Ismene, my eyes see the clearest. I... More >>>