Review of ‘Antony and Cleopatra’: “Too green in judgement”

The Bard’s revered historical piece returns to its homeplace in a new production combining conventional acting with sign language performances. Guillermo Nazara shares his views on the show, to let us know if, in this contemporary look on the classic, the odds is far from gone.

“Age cannot wither her.” The doomed affair between the fierce Roman general and the enigmatic Queen of the Nile seems to follow the same trail as the words that, 400 years ago, made it immortal. Shakespeare’s depiction of perhaps the two most fascinating characters of their era (sidekick Caesar will get his chance later on) may easily be considered one of his most theme-weighted works in the historical series – covering basically every human emotion in the book with striking scrupulousness. Featuring the same complexity as for its genre, the occasionally ambiguous tone of its writing serves as a blank page for new approaches to leave their stamp. Yet, we shouldn’t forget that, above all, the piece includes the term tragedy in its title.

Last night, The Globe hosted the opening of their latest production of Antony and Cleopatra, welcoming it back to the stage where, presumably, it was given birth to. Directed by Blanche McIntyre, the montage mixes traditionally staging with specks of a more modernised view – with its most significant asset coming from an inclusive takeover, combining conventional acting with scenes performed (sometimes, entirely) through sign language.

An interesting vision that, apart from its social contribution, could have also conveyed an artistic message regarding both form and content, it’s surprising to find how aleatory the blend of both styles is presented. Perhaps the point, but not necessarily a compelling one, it’s difficult not to wonder how its delivery could have been more appealing, moving and, ultimately, effective should the spoken and silent snippets be arranged in a way that could have also made a dramatic statement.

Instead, we’re offered a rather disorganised collection of excerpts which, despite the actors’ laudable efforts, compromises the flow of the narrative by relying too much on its premise while forgetting to hone its delivery. On the other hand, its excessively humorous, quasi-farcical general mood compromises the sharpness of the material – not only struggling to trigger any feelings other than a few (sometimes, undesired) laughs, but also failing to evoke the passion-driven essence of the piece.

Utilising a 16-hundreds-suggestive design by Simon Daw (possibly, the most praiseworthy effort in this version), the blocking is overall correct and visually enticing, with the exception of the fight scenes – which, similarly to the show’s not too effective score, doesn’t seem to match neither the vehemence or the viscerality of the page. In addition, though the renditions are entertaining, too many of them lack the level of psychological intricacy the roles require – opting for sometimes too exaggerated, some others too plain an execution that, eventually, is unable to project the convoluted sapor that defines the core of its personages and their subsequent journey.

Bringing a refreshing angle to a play that, nonetheless, has proven its uncanny ability to outwit the passing of time, Antony and Cleopatra‘s return to its former palace mirrors the fate of its protagonists – taking us on a ride filled with courage and determination, but unfortunately heading to an end that’s far from consoling. Following the same concept, but applying more instinct and understanding of the piece’s elements, this revision could have served as a turning point in theatrical craftsmanship – opening the gate to new ways of integration from both a community and creative perspective. Yet, so far, the myth is still pretty much a work of fiction.

All pictures credit to Ellie Kurttz.

Antony and Cleopatra plays at London’s Shakespeare’s Globe until 15 September. Tickets are available on the following link.

By Guillermo Nazara