By William
Shakespeare
Directed by Peter Evans - Designed by Anna Cordingley
Lighting
Design by Benjamin Cisterne- Composed and Sound designed by Max Lyandvert
Presented by
Bell Shakespeare - The
Playhouse, Canberra Theatre Centre 13th – 21st April 2018
Reviewed by
Bill Stephens
 |
| Catherine McClements (Cleopatra) - Johnny Carr (Anthony) Photo: Heidrun Lohr |
If you’re not
familiar with Shakespeare’s rarely performed “Antony and Cleopatra”, but are
keen to take this opportunity to experience it, then you’d be well-advised to
brush up on the text before you see it, because this production offers little help
in deciphering what is going on in the complex plot.
In Bell
Shakespeare’s current production the play
is performed in modern dress, in a single setting which suggests a
modern fashion salon or hotel foyer, with the actors dressed in elegant
cocktail wear with no clues as to rank or ethnicity. Subtle variations in the
lighting and sound, or dates projected on to the drapery, are the only
indication of changes in time-frame or locale. Adding to the challenge, some actors
change character, but not costume, and remain onstage artfully posed in
tableaus, when not required for the scene being enacted.
Focussed towards
scholars, rather than theatre-goers wanting to brush up their Shakespeare, this
production demands careful attention to the text, which for the most part is
delivered in impeccably phrased speeches, rather like a series of audition
pieces, with only occasional opportunities to engage with the characters or
story.
However, don’t
be put off if watching actors in chic modern dress expounding Shakespearean dialogue
is not necessarily your idea of Shakespeare, or if you’re not in the mood to
have your brow furrowed trying to work out the complexities of the plot,
because there is still much to savour in this production.
 |
| Ray Chong Nee (Enobarbus) - Lucy Colby (Pompey) - Gareth Reeves (Octavius) - Zindzi Okenyo (Charmian) Joseph Del Re (Menas) - Catherine McClements (Cleopatra_ - Johnny Carr - (Antony) Photo: Heidrun Lohr |
Firstly it
is beautiful to look at. Anna Cordingley’s
tastefully lit, pastel tinted world of
floating draperies and trendy, comfy furniture for the elegantly attired actors
to lounge and pose, provides an eye-pleasing environment. Max Lyandvert’s sound
neatly underlines changes in mood.
Peter Evans
inventive direction which has the actors falling into slow-motion group
movement, hauntingly movingly through gauze corridors, or freezing into those
previously-mentioned artful tableaus, keeps the eyes engaged, and the mind
wondering. He also manages to locate quite a few genuine laughs in the text.
Catherine
McClements rightfully dominates the stage with her idiosyncratic portrayal of
Cleopatra as a passionate and wilful woman. Her reaction to the news that Mark
Antony has married Octavia is one of many fine moments to be relished in her interpretation. McClements receives
excellent support from Zindzi Okenya and Janine Watson as her handmaidens Charmian
and Alexas.
Despite an
interesting interpretation, Johnny Carr was not able to match McClement’s
presence. His Mark Anthony came across as immature and self-indulgent, rather
than the hero Cleopatra perceives him to be.
 |
| Lucy Goleby (Scarrus) - Gareth Reeves (Octavius) - Zindzi Okenya (Charmian) - Janine Watson (Alexas) Catherine McClements (Cleopatra) Photo: Heidrun Lohr |
Among the fine ensemble cast, Lucy Goleby stood out for her assertive performance as Pompey, Ray Chong Nee offered a bold Enobarbus, and Gareth Reeves intrigued with his laid back interpretation of Octavius.
So, even if this
is not the “Antony and Cleopatra” you were expecting, take the plunge, you
might discover that this is an even more memorable production than you dared to
expect.
This review also appears in Australian Arts Review. www.artsreview.com.au
