REVIEW: ‘Antony and Cleopatra’ at the National Theatre
Photo: Antony and Cleopatra stars, from left, Georgia Landers, Ralph Fiennes, Sophie Okonedo and Gloria Obianyo. Photo courtesy of Johan Persson / Provided by NT press site.
LONDON — William Shakespeare’s Antony and Cleopatra is a beautifully written romantic tragedy featuring the Bard’s uncanny poetry and a few interesting and unique plot techniques. The play recently received a worthy revival thanks to the National Theatre and the commanding performances of Sophie Okonedo and Ralph Fiennes as the title characters.
The play is very much a bifurcated story, set between Rome and Egypt. In the former, Antony (Fiennes) is one third of the triumvirate ruling the Roman Empire, while he’s in the latter, he’s able to enjoy the excesses of life with his new romantic partner, Cleopatra (Okonedo), queen of Egypt.
Power struggles ensue, and Antony is threatened by the power-hungry Caesar (Tunji Kasim). Whether he will keep his power and still be able to return to Egypt is one thread in the three-hour-30-minute production, but Cleopatra’s own ordeals are what take center stage.
As portrayed by Okonedo, the Egyptian queen is powerful, romantic and scene-stealing. She loves Antony, but she also loves the power she has amassed in her own right. Taking orders from the likes of these Roman men does not sound agreeable, and thus she must join Antony in his warring and political efforts.
Fiennes is every bit Okonedo’s match. Together they are believable in their love for each other and also masterful in how they turn from sweet-nothings to skillful scheming.
This being a tragedy, the proceedings obviously turn deadly. Caesar and his men will not relent, and Antony soon realizes he is forever outnumbered, forever running away. Interestingly, the Bard does not have this historical tale end with the expected: Antony and Cleopatra dying in each other’s arms, a la Romeo and Juliet. Instead — spoiler alert — after Antony succumbs to injuries in Act IV, Cleopatra is afforded Act V to settle her own scores and meet death on her own terms. Scholars have often debated on why the Bard made this stylistic (and rightful) choice, but after seeing Okonedo’s performance, it becomes a little clearer. Cleopatra is deserving of that unfortunately rare occurrence in a Shakespeare play: a central female figure with her own arc.
Tim McMullan stands out amongst the ensemble. His portrayal of Enobarbus is simultaneously courtly and cunning. Gloria Obianyo is also quite skillful as Charmian.
Simon Godwin directs the action on the enormous stage of the National Theatre’s Olivier Theatre. Egypt is bedecked with pools, while Rome is more spartan and office-like. Cleverly placed doorways allow for quick entrances and exits, which helps the choppy play and its many scenes. At one point, there’s even a farcical tone that is struck because of the many doors opening and closing.
The costumes by Evie Gurney are modern, featuring fatigues and suits. This choice elevates the militaristic side of the play and aligns it more closely with the political machinations of Shakespeare’s Julius Caesar.
Any Antony and Cleopatra is only as good as its two lead actors, and this production, which recently wrapped in London and is being encored in movie theaters, has two gems in the title roles.
By John Soltes / Publisher / John@HollywoodSoapbox.com
Antony and Cleopatra, by William Shakespeare and directed by Simon Godwin, stars Sophie Okonedo and Ralph Fiennes. Recently played the National Theatre’s Olivier Theatre in London. Running time: 3 hours, 30 minutes. Click here for more information.
