Review: ANTHONY AND CLEOPATRA, Royal Shakespeare Theatre

Condensing the political and military strife of ten years into a tightly concentrated three hours, Shakespeare's Anthony and Cleopatra is a beguiling, overwhelming mixture of tragedy, history, comedy and romance.

Although the political machinations, battles and titular romance are all historically accurate, the majority of the action takes place offstage, and the play focuses on the passion, pride and greed which drive Mark Anthony, Octavius Caesar and Cleopatra, Queen of Egypt.

Anthony and Cleopatra is amongst the least accessible of the Shakespearean canon; an endless stream of messengers report the movements of the rivalling triumvirs and the results of unseen battles, making it difficult to keep up with the plot. Director Iqbal Khan combats this thorny issue by recreating situations which are not too dissimilar from contemporary life. The Roman soldiers feast with the sort of laddish banter, exchange of insults and wild drinking games reminiscent of a modern university society. The ever-present threat of conflict is masked by a show of camaraderie.

This RSC production also accentuates Mark Anthony's personal struggle between his political duty in Rome and his passion for Cleopatra. Roman scenes are colder and more formal, the characters move in neat formation and decisions are made in fast-paced dialogue, signed and sealed in just a few lines. Egypt, by contrast, is a place of pleasure and romance. Playful, sexual games interrupt the action, the language is more poetic and messengers might be met by either giant, cloaked figure wearing a skull, or showered with gold, depending upon the capricious nature of Cleopatra.

Laura Mvula's music reflects the duality of these two settings. As we are transported to Rome, it's more militaristic, with high choral singing and blaring trumpets. Effective in conveying the regimented nature of the republic, the sound is at times unpleasantly shrill. The Egyptian music is gorgeously lush, combing Mvula's trademark rich voice with Middle Eastern melodies and medieval instruments.

Robert Innes Hopkin's designs add an extra layer of magic to Cleopatra's Alexandrian paradise. Clothed in a glamorous wardrobe of flowing robes, the queen poses on beautiful structures of polished wood, rising from beneath stage like a true goddess. The powerful simplicity of Hopkin's designs is also evident in a naval battle between Octavius and Anthony, when model ships are driven by actors, intricately weaving in and out to reflect the terrible choreography of warfare.

Josette Simon is exceptional as Cleopatra, radiating charisma and charm in every scene. Her movements are statuesque and perfectly poised, as though every action is carefully planned to the queen's best advantage. Her energy and vitality are perfectly suited to what is often considered Shakespeare's most complex female character, flipping between anger, despair and uncontrollable laughter.

The sticking point with both of the Shakespearean source text and consequentially this RSC production is that the play hasn't decided what it wants the audience to feel. Whilst there are tragic moments, such as Cleopatra's desperation to haul a dying Anthony up to her monument, the mood is destroyed by unexpected moments of humour. Romance is often cut short by Cleopatra's flippant monologues, political intrigue takes place offstage and the detail of history is lost as the years rattle by at an alarming rate.

This unique mixture of genres limits the emotional impact for the audience. However, this problem play is saved by small moments of intricacy and beauty, found in Khan's thoughtful direction and Mvula's music, and a standout performance from Josette Simon.

Anthony and Cleopatra is at the Royal Shakespeare Theatre until 30 September, before transferring to the Barbican Theatre.

Photo credit: Helen Maybank (c) The RSC.

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