Cleopatra & Antony review | Melbourne Shakespeare Company | fortyfivedownstairs

History remembers Cleopatra and Mark Antony primarily as lovers, but romance was only one part of what brought them together. Cleopatra was a ruler fighting to preserve Egypt's independence, while Antony was a Roman general caught in the bitter struggle for control of Rome. Their relationship unfolded as the Roman Republic collapsed, making their personal choices inseparable from the political forces that would prove to be their undoing.

While I knew the broad outlines of their story, I wasn’t especially familiar with Shakespeare’s play. Some reading beforehand revealed a more politically charged drama than the popular image of the doomed lovers suggests. Melbourne Shakespeare Company’s production of Cleopatra & Antony, directed by Sonya Suares, brings its intrigue, tension and ambition into fortyfivedownstairs’ basement.

Transferring a tale of this scope is no small undertaking as it moves between Rome and Egypt, intimate encounters and military conflict, with numerous characters navigating loyalties and betrayals. The creative team makes impressive use of the limited area. Eloise Kent's set uses three-tiered marble stones that help evoke the monumental architecture of the ancient world, while sails along the sides reference the battle to come. Rob Sowinski's lighting bathes the stage in warm yellow hues, capturing the heat and opulence of Egypt, while David Stewart's sound design punctuates the dramatic turns with short bursts of sound.

Samantha Hastings' costumes complement the earthy palette, with cream and brown worn by most characters, contrasted by a bold red tunic for Octavius and two gorgeous blue outfits for Cleopatra. Antony's more practical, masculine clothing reflects his military identity and gives him a grounded, imposing status.

Suares keeps the expansive narrative moving, making effective use of the 13 actors and the space. They enter and exit scenes with purpose, while multi-character moments give the production energy and scale. Despite the frequent changes in location and the number of characters on stage, the actors move smoothly without the space ever feeling cluttered.

Movement and Fight Director Thomas Royce-Hampton's fight scenes are precisely choreographed, with each actor occupying a set position and performing repeated movements to the score. They never physically engage with one another, yet their coordinated actions deliver a convincing impression of the chaos and aggression of battle.

Unfortunately, the control evident in the staging doesn't always extend to the narrative. For someone less familiar with the play, Shakespeare's language, the multitude of characters and betrayals and conflicts make it challenging to follow. Rather than becoming invested in Antony and Cleopatra's fate, much time is spent working out what is happening, making it difficult to become emotionally connected to the characters or plot.

Louis Lucente portrays Antony as a figure of authority, but one who allows his heart to overrule his head. His scenes with Akina Edmonds are tender yet passionate, conveying both their attraction and the extent to which their relationship overwhelms their judgement. Edmonds brings formidable force to Cleopatra, illustrating her theatricality and unpredictability while allowing glimpses of vulnerability beneath her exterior. Her death (and that of Antony's too), however, is overly dramatic and could have benefited from a little more restraint. The execution feels as much like a directorial choice as a performance one, with the heightened drama slightly overshadowing the emotion of the moment.

The ensemble has several notable performances, with Damon Baudin a standout as Octavius, displaying quiet command and measured composure. Tsungirai Wachenuka brings warmth to Charmian, while Mark Yeates handles the dual roles of Lepidus and Proculeius with assurance.

Cleopatra & Antony is an ambitious production that makes inventive use of its performance space, but the story isn't always easy to follow, nor is the central relationship easy to connect with. The production is confident and committed, yet the couple's eventual downfall doesn't have the emotional resonance it could. For a story built around a love affair with such enormous political consequences, that emotional distance ultimately limits the production's impact.

SHOW DETAILS

Venue: fortyfivedownstairs, 45 Flinders Lane, Melbourne

Season: until 13 September | Tues - Sat 7:30pm, Sun 5pm
Duration: 90 minutes

Tickets: $55 Full | $49 Concession
Bookings: fortyfivedownstairs

Image credit: Nick Robertson