Review: Cleopatra & Antony at fortyfivedownstairs theatre

Review by Liz Baldwin

If the Roman Empire is your, well, Roman Empire, Melbourne Shakespeare Company’s new production of Cleopatra & Antony holds much to be excited about. 

The rarely staged Shakespearean tragedy jumps into the history of the Roman Republic after Julius Caesar’s assassination. Three men - Lepidus (Mark Yeates), Octavius (Damon Baudin) and Antony (Louis Lucente) - have reached an uneasy power-sharing agreement, but political tensions are high. Antony’s tempestuous relationship with Cleopatra (Akina Edmonds) shapes the drama, guiding his motivations and his military resources when the inevitable showdown comes.

Written around 1606, Antony and Cleopatra is one of Shakespeare’s most sprawling plays, unfolding with 34 characters across more than 40 scenes as it ricochets between the hard-nosed power plays of Rome and the court of Alexandria, caught in its own precarious political moment as the long arm of Roman power threatens.

This adaptation, directed by Sonya Suares, has a bold vision - espoused in a prologue before the action starts - of reclaiming Cleopatra as a wily political leader rather than object of male attention. It’s an admirable aim, although not a particularly novel reading: when the revionist history has made it to children’s books, safe to assume it’s hit the mainstream.

Yet the adaptation never quite delivers on its promise. Cleopatra is dialled up about 50% more than every other character - but unfortunately, the effect isn’t to give her command of every room, it’s to push her into melodramatic histrionics. Rather than leading with gravitas, it makes her look at the whim of every impulse running through her head, or frantically seeking assurance from the servants around her.

It’s a shame this choice didn’t land, but there’s plenty else to like in this production. Interjections from Charmian (Tsungirai Wachenuka) are a smart way of helping the audience follow the complex political dynamics. Lucente’s Mark Antony is believable as Cleopatra’s besotted lover, and his headstrong refusal to listen to military advice evokes tragedy in the truest sense.

Jennifer Vuletic is my best-on-ground for a canny, ever-watchful portrayal of Agrippa, Octavius’ counsellor. Damon Baudin as Octavius himself is excellent as the assured, youthful, yet absolutely unyielding nepo baby (Julius Caesar’s adopted son). And 

Mikey Sakinofsky’s portrayal of one of Cleopatra’s servants was a standout, evoking a genuine loyalty and love for the queen.

The set, by Eloise Kent, is a stylish, spare evocation of Egypt, all sandy rock and sails - moodily illuminated by Rob Sowinski’s elegant lighting design. I would have loved to see the same coherent sensibility carry to the costumes, which at times seemed a mish-mash of styles and themes without a clear point of view.

Historians and Shakespeare lovers alike find endless inspiration in the well of Cleopatra and Antony. It’s a love story with empire-shaping stakes, and complex characters whose motivations can be forever debated. By the same token, it’s no wonder Antony & Cleopatra is known as a difficult play to stage. And while this adaptation didn’t land every punch for me, it’s always great to see companies take big swings on ambitious works and contribute to this ongoing project of taking the story out, dusting it off, and looking at it afresh through modern eyes.

Image Supplied