‘Anthony and Cleopatra’ is not an easy play to get right. William Shakespeare took the story of political intrigue, family jealousy, and blinding love right from the pages of ancient history, and wove a tale that is dramatic, tragic and loving in equal measure.
It is an even harder play to get right when you are a company of only seven players, each permitted to learn only your own lines and cues, thrust onto an unfamiliar stage with no rehearsal.
That said, the talented company from Shake-Scene Shakespeare did just that… performing Anthony and Cleopatra as the second play in their mini repertory residency at the Shakespeare North Playhouse this week with resounding success. Opening with ‘As You Like It’ yesterday (the review of that show can be found here: https://northwestend.com/as-you-like-it-shakespeare-north-playhouse/, their production is even more impressive when you realise that the company is juggling this creative chaos with two plays in their minds!
In this high-stakes production, we see Ellie Zeegen brilliantly take on the mammoth role of Anthony, with Eugenia Low as Cleopatra by her side. Zeegen shone as Anthony, demonstrating a real authenticity of emotion and torment. All the company demonstrated considerable talent, but I would also like to mention Dewi Hughes as Enobarbus and others who had an innate truth in his performance, whether in his more comedic moments, or in his vulnerable and pained final scene.
With five of the actors playing multiple roles, I also appreciated the helpful use of colour in the costumes: yellow denoting Cleopatra and her subjects, while red reminding us that the players were in that moment aligned to Caesar and Rome. Special shout out for all of the quick changes, entrances and exits that the actors did exceptionally well to keep up with.
The company did well to overcome the intermittently distracting ambient traffic noise, particularly as they had no director to guide them in their blocking in the space – which regrettably led to a few lines delivered with an actor’s back to the audience. That said, I am in awe of any company that can deliver any play after learning lines and creating characters in pure isolation, and then produce chemistry and authenticity on stage with zero rehearsal (apart from the fight scenes, we were assured by the Artistic Director, Lizzie Conrad Hughes).
In the Sir Ken Dodd Performance Garden, the company also has to contend with a complete lack of set and technology; which meant an earlier start to catch the daylight, but also provided a complete freedom from needing to perform within movement constraints. With no lighting cues to hit, and no set to relate to, the whole space became theirs to play in; and I really enjoyed their use of the whole garden – including the steps to the audience seating – as they sought to locate themselves in Egypt and in Rome.
This is a truly impressive feat of Shakespeare, that should not be missed!
Reviewer: Jo Tillotson
Reviewed: 16th August 2024
North West End UK Rating: