Punchbug bring us an unusual and striking production of this heavy historical play. With quite minimalist staging, much depends on the two main leads, and they do not disappoint.
Set in ancient Rome and Egypt, Shakespeare’s Antony and Cleopatra explores the tumultuous relationship between Mark Antony, one of the three rulers of the Roman Empire, and his lover Cleopatra, the Egyptian queen. The major antagonist is Octavius Caesar, one of Antony’s fellow triumviri and the future first emperor of Rome.
Director Ira Seidenstein’s production is sparse, almost a ‘black box’ studio version, with just a few white panelled walls, occasional chairs and some small props. The (generally very young) cast copes excellently with all the doubling and tripling of roles required. Shifts between Roman and Egyptian scenes are usually distinguished by a loud conch-like horn that sounds like a ferry on the Harbour; percussion dominates the score. The Romans are dressed in elegant soft suits, the Egyptians and Antony’s side far more casually. Cleopatra wears a sexy black leather outfit with a slashed ribbon bustier top.
Antony was excellently played by Berynn Schwerdt, a tall, thin, craggy rather scruffy man of multiple talents (army man, admiral, town planner and and and. ..). Roman to the core, he was an excellent commander and Triumvir. He could be volcanic in anger (as we see in one of his interactions with Cleopatra). His death scene showcased yet more of his magnificent acting. Brilliant.
Fascinating Cleopatra, the bewitching ‘Serpent of the Nile’ was impressively played by Denby Weller. She was shown as imperious, demanding, proud, skittish, kittenish and full of suddenly changing moods. And yet always, always Egyptian and torn with the conflict of loving the foreigner Antony. (Spoiler alert : her famous death scene has no hidden asp in a basket, rather it is a lethal self-administered injection, the syringes hidden in a small battered suitcase. )
In the smaller roles, special mention must be made of Brinley Meyer as Enocarbus – delightful compelling acting. Brava. Also keep a look out for the terrific Jonathan Dunk, imposing and in fine voice as Octavian. Bron Lim as various messengers and assorted underlings of both sides wore many different guises, and Yiss Mill as a musician, fortune teller and in other roles was also terrific. Some of the other smaller roles however were hammed badly and woodenly ‘telegraphed ‘ their emotions – perhaps this was due to opening night nerves ?
A key feature of this production is the way women are used and viewed, with women strongly playing men’s parts most effectively. Speech rhythms have been contemporised. Movement on the very small stage was at times very athletic, and included dance as well as more formal frieze-like blocks of movement, and also some rather risqué Commedia del’arte effects. Sometimes scenes were played for laughs when perhaps they shouldn’t have been (e.g. dragging poor Antony around when he is dying of his wounds). Some of the play could perhaps be trimmed a little, eliminating repetition.
Overall, however, an exciting, intriguing and challenging version of this long, complicated and convoluted history play. There were cheers and whistles at the end and most enthusiastic applause.
Rating: 3 ½ stars out of 5
Punchbug Productions in association with Emu Productions present
Antony and Cleopatra
By William Shakespeare
Director: Ira Seidenstein
Music: Yiss Mill
Lighting: Kyle Stephens
Running time: 3 hours 20 mins (approx) including one interval
King St Street Theatre, Newtown
4 – 15 June
