Antony and Cleopatra:

Stepping out of the pages of history

Gwen Herat

from Shakespeare’s Globe Theatre, London

THEATRE: All theatre lovers, artists and dramatists will agree that to step into Shakespeare’s Globe Theatre is a dream come true. Especially to watch one of his plays in the new millennium, is a fulfilment that can be cherished forever. This very Globe Theatre that may have mounted Antony and Cleopatra during his time, would certainly have had an all-male cast with a good-looking youth as Cleopatra as it were during his days.

The excitement of the evening made my heart thump in emotion as I stepped into this citadel of thespians’ theatre where the magnificent cast backstage, doing the final touches for their appearance. I was lost in the milling crowds in the spectacular interiors maintained in its true authenticity. The oak panelled pillars well preserved, the heavy wooded roof threw me back to Shakespeare’s time. In its infinite glory, I was alive and kicking, feeling strange and choked.

Though no record survives of Antony and Cleopatra’s early performance, there is suggestion that it did appear in 1606 after Shakespeare wrote King Lear and Macberth. It played at the Globe Theatre first it formally mounted with the Blackfriars which was an indoor playhouse used by Shakespeare in the months of winter from 1609.

The synopsis of the play commenced with the instability right down to the suicide of Cleopatra.

Following the death of Julius Caesar and the defeat of Brutus and his fellow conspirators, the Roman Empire is ruled by the triumvirate of Lepidus, Octavius Caesar and Mark Antony.

They have a common enemy in Pompey who is the son of Julius Caesar’s old rival. However, Antony has been distracted from his responsibilities towards his triumvirs, his wife Fulvia, and Rome itself due to his passionate love for the Queen of Egypt, Cleopatra.

In Egypt, news reaches Antony of the failure of his wife and brother’s campaign against Octavius Caesar, of Parthian advances in the eastern empire, and of Fulvia’s death. With the rising popularity of Sextus Pompey in Rome, Antony is stirred to teas himself away from Cleopatra. The triumvirate meet in Rome.

In the interest of settling the differences and binding themselves together, Caesar’s sister, Octavia is given to Antony as his wife. His friend Enobarbus positively maintains that Antony will never abandon the beautiful Cleopatra.

Antony turns his attention to the threats from Parthia and Pompey and the news reaches an enraged Cleopatra of his marriage to Octavia. The triumvirs make their peace with Pompey and celebrate the event. Cleopatra interrogates a messenger about Octavia.

Conflict arises again between Caesar and Antony. Angry over the fact that Caesar had renewed hostilities against Pompey, Antony despatches Octavia as his mediator with Caesar but reconciliation was not to be. Caesar has killed Pompey and disposed the ineffectual Lepidus, taking over his third of the empire.

On the other hand, Antony, having dismissed Octavia, enthrones Cleopatra as queen of the eastern territories. The crisis is brought to a headon and Antony encouraged by Cleopatra but against the better judgement of Caesar, fights him at sea near Actium off the western coast of Greece. Just as the battle seems turning in favour of Antony, Cleopatra’s flagship turns tall and with it the rest of her navy. Antony follows her and the battle is lost to Caesar.

Caesar sends terms to Egypt. Cleopatra may remain queen if she gives up Antony. Antony’s response is to challenge Caesar to hand-to-hand combat and to whip Caesar’s ambassador. Caesar spurns the challenge and Antony rallies himself for a second engagement. Fearing a second disaster, Enobarbus desert Antony for Caesar’s camp. But Antony is victorious by land and Enobarbus broken-hearted at his desertion, dies.

The next day, the battle is met again at sea. Cleopatra’s fleet surrenders to Caesar and an enraged Antony accuses Cleopatra of having switched allegiance to Caesar. Back in Egypt, Cleopatra takes refuge in her monument and sends word to Antony that she has killed herself. Antony attempts to take his own life. When he hears the truth, he is carried mortally wounded, to the monument to bid farewell to Cleopatra. Antony dies.

Caesar sends word to Cleopatra that she has nothing to fear from him although secretly he plans to lead her to Rome in triumph. She speaks elegiacal of Antony to Dolabella who tells her of Caesar’s real motives. Caesar arrives. Cleopatra is embarrassed when Caesar discovers that she has presented a false inventory of her wealth. Caesar urges his friendship but Dolabella reveals that in three days, she will be despatched to Rome.

Appalled at this indignity, Cleopatra prepares for death. A rustic bring a bagful of figs concealing asps. The snakes do their work. When Caesar returns, Cleopatra and her retinue are dead.

This spectacle was so perfect, magnificent and strong enough to create exactly the spectre found in the play. It is only the Brits that can acquire such perfection. They simply sink into their icon’s plays and Shakespeare himself would have been amazed at its depth and craft had he watched today’s version.

A queen immortalised by her lover as the theme... like the gentle flow of the Nile where loyalties are in doubt. Cleopatra in her glory, triumph and defiance which brings her to a tragic and, surfaces the frailties of an ambitious woman.

Antony and Cleopatra, a sequel resuming rivalry between mark Antony and Octavius because seven or eight years after Shakespeare wroteJulius Caesar (1509). He returned to the story of Rome and to some of the characters left alive at the end of the play.

So, Antony and Cleopatra takes off and we are aware of the enmity between Antony and Octavius with Brutus and Cassius. The lifestyle in Julius Caesar is carried into Antony and Cleopatra and the circumstances and ambitions, had changed Shakespeare made this play richer and complexed rather than formal. That was something I noticed.

The rendering of dialogue among the chief characters were brilliant. Not a flaw and not a pause. How they did it was marvellous; like a tribute to the Bard at his own venue, his beloved Globe Theatre. The language of the play contained both Roman virtue and Egyptian excess.

Antony, once the hardened old campaigner, now, cannot resist Cleopatra’s luxuries and follies. He grows soft and irresponsible, yielding to Cleopatra’s charm. The stakes are high with Rome remaining Roman under Octavius.

And the story continues without a break. Magnificent decor and stage setting typical of Rome and Egypt by Artistic Director, Dominic Dromgoole was the best I have ever seen. Dominic Dromgoole who is also the Director of the play, was backed by a staff of professionals who were experts in their departments.

The coordination of each and every person, made Antony and Cleopatra one of the greatest epics in modern theatre. Music Director, Keith MacGowan was a genius and inspired every character that crossed the stage. Excellent wardrobe and appropriate choreography, left nothing for imagination. The cast ran into 100 as well as the production staff, even more than a 100 if I am right.

Frances barber as the Queen of Egypt was all royalty in command of herself. This famous and experienced actress of Shakespeare plays, needed no introduction to the crowds that thronged into the Globe. She was in full command right to the end. If she was perfect in her acting, I cannot say the same about her personality.

Being used to a beauty like Elizabeth Taylor playing Cleopatra, she was plump and matronly in appearance. But she matched off to the traces of ageing Antony. Nicholos Jones gave a brilliant performance as the hopelessly-in-love Antony.

They matched so-well that the delivery of dialogue came easy to them. I can say the same of Octavius Caesar played by Jack Laskey while John Bett added splendour to his Lepidus. There was excellent support from the rest of the cast and one never knew how three-odd hours sped by.

At the end I felt I was stepping out of the pages of history to the new millennium.

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