The Bard’s epic love-and-loss play returns to the London scene in a fully revised version reflecting queer identities through an alternative. Guillermo Nazara shares his views on the show, to let us know if this new look into the classic tale still manages to bring eternity into their lips and our eyes.
What is power without love? And what does love bring through its power? Shakespeare’s epic recount offers a tragic answer to that query. The ancient tale of the two lovers doomed by fate’s fickleness takes a more twisted turn through the almost mythical figures of the Roman general and the Egyptian queen – where the purity of their passion gets tinted by the venomous darts of their longing and affliction. Another tale of the heart and the devastating force that its rupture unravels, the interpretations of the Bard’s historical drama have probably pointed in every angle throughout the centuries – but surely never before have we encountered something that, in the most literal sense of the word, could feel so remarkably queer.
Directed by Robert Chevara, this revised take on the historical classic draws away from the lavishness of its original setting, and plunges into an underworld of drugs, strobe and leather oozing the uncanny allure of its decadent beauty. Blending Shakespeare’s words with glam pop-rock tributes scattered all throughout, this abridged retelling manages to create an identity that closely resembles the sordid elegance of an Almodovar film. However, it also struggles to stay faithful to its own premise – too many times, meandering into styles that not only do they not contribute to its essence, but somehow deprive it from it.
Luring us into the ignominious seductiveness of its dark, dissolute universe, Chevara’s aesthetic approach, enhancing the glitz of its ominous, decaying night club’s looks, manages to create an absorbing, tangible atmosphere that reinforces the meaning of Shakespeare’s most obscure themes, while also applying new layers onto them. It’s precisely that trait that triggers your later frustration as a viewer, when such marvelous accomplishments are somehow deluded by some unnecessary comic reliefs – which far from advancing the pacing, sadly bring more of a disconnection with the emotional journey we’re supposed to be engaged by.
The solution to that problem is fairly before their eyes, nonetheless. As much as the repertoire heightens its celebration of queer culture and identity liberation, the show’s visuals already provide more than enough to set up that image. A musical break from the action could still be welcome, but definitely that should be reduced to one or two at the most – toning down its humourousness for a different vibe which, though could still flaunt some amusing elements, should anyhow focus on more gravitas and introspection.
As for the cast, despite some minor glitches in their delivery, the performances demonstrate understanding and commitment to the piece, while also boasting good rapport and occasional flair all throughout. Among its 4-piece company, the greatest praise goes to Jonny Woo in the role of Cleopatra, playing the part with remarkable strength and treacherous magnetism – putting on a most memorable rendition that exudes confidence and ease, and evenly crafts a most lasting impression that navigates between the likeness of glam rock and the insidious charm of Cabaret’s Emcee.
Parting from a brilliant directional premise that offers murkier, overdosed revision of Shakespeare’s legendary tale, Antony and Cleopatra: A Dream of Passion gets the ball rolling by establishing a compelling, ingenious new reading of the material, but trips over it by overlooking its real potential, and instead going for the uncomplicated, unpolished option of camp for the sake of camp. A more intricately devised exploration of this idea could lead to a much more significant result which, beyond its position as a new adaptation, could actually position itself as a reference in its own right. It’s a piece that plays with fire – and by all means, we want to get burned.
All pictures credit to Jane Hobson.
Antony & Cleopatra plays at London’s The Divine until 26 September. Tickets are available on the following link.
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