REVIEW: ANTONY AND CLEOPATRA
A woman of beauty and power
Return to ANTONY AND CLEOPATRA
ANTONY AND CLEOPATRA. Directed by Marthinus Basson, with Tinarie van Wyk Loots, André Weideman, Andrew Laubscher, Lionel Newton, Nick Pauling, Juliet Jenkin, Scott Sparrow and Mark Hoeben. At Maynardville Open Air Theatre until February 20. TERRI DUNBAR-CURRAN reviews.
SHAKESPEARE'S women are arguably rather flimsy at the best of times. They are often little more than pawns for their male counterparts, driven solely by emotion. And if they do have a little substance they come across as feisty harridans as in The Taming of the Shrew, or lovesick teenagers as in Romeo and Juliet.
In this year's Maynardville production, however, we're presented with a woman with immense beauty and power, who knows how to use it. There's a depth to this leading lady that some of the bard's other women just don't have.
This is only the second time Antony and Cleopatra is being staged at the open-air theatre in 54 years, the first time being in 1972, directed by Alexander Dore. The play is complex, filled with political intrigue, passion, suspense and deception. It plays rather like a prime time drama and if you can get a handle on the extensive cast and changing alliances, you'll find the action gripping.
In addition to the subject matter of this tragedy, this is certainly not a show to be taken lightly. The first part of the show, clocking in at a long one hour and 50 minutes, gives the audience much to contemplate and puzzle over during interval before the second half, which falls just short of an hour. Younger budding Shakespeare fans and those not familiar with the story may find it difficult to endure the entire play.
A basic knowledge of the story is a definite advantage, especially when the underhanded political dealings begin heating up. The story of the lovers themselves, beyond the repercussions of their actions, is fairly straightforward. This is a couple who fight as passionately as they love. But that passion and their selfishness come at great cost to their nations.
Tinarie van Wyk Loots makes for an expressive Cleopatra, her moods shifting dramatically as she commands attention and awe. She brings the character to life with flair.
Cleopatra is a formidable woman who knows how to get what she wants from her man and doesn't think twice about physically assaulting people who won't pander to her. But she also has her weaknesses and her nation pays the price.
Her poetic monologues are delivered with fervour and Van Wyk Loots channels her headstrong spirit convincingly.
The only man strong enough to make her weak at the knees is André Weideman's powerful Antony, but even he hasn't managed wholly to conquer her. Weideman takes on the character with gusto and creates a headstrong warrior ready for any challenge.
Andrew Laubscher plays the young Octavius Caesar as an immature leader relying heavily on the counsel of his older advisers. His childish outbursts are in stark contrast to the calculating tactics of the other members of the triumvirate.
As Domitius Enobarbus, Antony's chief lieutenant, Lionel Newton is engaging. His performance is of a high quality until the bitter, heartbroken end. While essentially not one of the title characters, he anchors the story, a clear-headed voice of reason.
Dann-Jacques Mouton takes the role of the snake-handling soothsayer. Nick Pauling puts in an appearance as the sword-toting rebel Sextus Pompeius and Juliet Jenkin as Cleopatra's attendant, Charmian.
The story allows great scope as far as costume design and the appearance of the show are concerned. Basson has created an interesting mix of styles and eras, with the Egyptians in traditional outfits with modern twists, Caesar and his crew in business suits with briefcases, Antony and his soldiers in military gear with a touch of classical flair, and a band of pirates complete with hoodies.
At first glance the set is fairly plain, but once the action begins, Basson's clever use of lighting, designed by Faheem Bardien, and a raised, angled platform easily transport the audience from Egypt to Rome and to the high seas. The pyramid effect of the yellow lights may be slightly obscure, depending on one's position in the theatre, but the general idea is effective.
Each location is also given its own "feel", which, for a play that spans such a large geographical area, is vital to helping the audience keep up.
The hustle and bustle of the Roman board room are juxtaposed with the poetic movements of the Egyptians, which give the impression of ancient murals. It's those touches that make the play interesting to watch. Also, the simple set affords the audience more time to appreciate the costumes and keep abreast of the rapidly shifting alliances on stage.
Despite the length, Antony and Cleopatra is an interesting look at one of Shakespeare's most well-known tragedies. So pack a picnic and enjoy a night of love affairs, boardroom intrigue and war on the high seas.
