Antony and Cleopatra Review

Antony and Cleopatra

Festival Theatre, Chichester

The Chichester 50th Anniversary Festival is coming to an end, and one of its final offerings is William Shakespeare's Antony and Cleopatra. Having seen Michael Boyd's 2009 production, I was interested in seeing this production, which originally performed in Liverpool back in 2010, with Kim Catrell returning as Cleopatra.

Kim Catrell was a fine Cleopatra. She was both alluring and regally commanding, and she listened to  the messenger's description of Octavia with dignity. She did though shout a bit and her voice sounded slightly strained when I saw her. What is more I thought she lacked range in her interpretation of this complex character. When the play focuses on her at the end I was impatient for the production to end. It says something when it is Michael Pennington as Antony who stands out in comparison to Catrell. He gave the character with depth, and was quite the firm and proud commander who was weary with age and compassion. With Catrell their relationship was mature and on the whole touching, though with Catrell's performance it did not stand out.

What really stood out was Antony's relationship with Octavius Caesar, who was played by Martin Hutson. Both produced a heated Act 2 Scene 2, and showed both Antony's calmness and pride, and Octavius' impatience and reason. Later on Martin also showed Octavius' brotherly side as he remorsefully held his heartbroken sister, a sad end to the first act. Elsewhere Ian Hogg carried off a heart-breaking moment during the second act as Enobarbus. Oliver Hoare was a gallant yet insubstantial Pompey, who wept at the mention of his father's death. Charman and Iras (Aicha Kossoko and Pepter Lunkuse) were ever the playful servants under Cleopatra, played by Aicha Kossoko and Pepter Lunkuse, whilst Harmage Singh Kalirai was at times present on the stage as the Soothsayer; a reminder of the coming tragedy.

The set basically consisted of a walkway above an empty stage, and sometimes a chaise-lounge or table would appear from  below the stage. The Egyptian scenes were dimly lit with warm lighting, whilst lamps were dotted around the stage. The vibrant Egyptian music was played between scenes, and including the opening scene, when Cleopatra appeared from below the stage in ceremonial clothing, like some goddess. When the Romans came on, the stage would be plainly lit and brick arches would be revealed at the back, whilst military music was played. The Romans wore uniforms and suits whilst the Eqyptions wore dresses and robes.

There were some good moments, particularly between Michael Pennington and Martin Hutson. Yet the focus of the production, the relationship between Antony and Cleopatra, was let down by Kim Catrell and by the end the production was becoming tiring. This is worth a Bargain.