Antony and Cleopatra at Shakespeare’s Globe

“Like Shakespeare, we are living in a post-Elizabethan, post-plague, post-truth world,” so Shakespeare’s Globe Artistic Director Michelle Terry writes in her welcome to the readers of the production programme. We are indeed living in a challenging time, where art and culture could be both the honey to soothe our bruises and the door through which to escape we all need. The theatre’s summer programme features the tragedy of Antony and Cleopatra, narrating the drama and dispute of love and power between the reigns of Rome and Egypt, delivered as bilingual, in alternated English and BSL. As for the Bard’s script, there are some provoking lines, and the performance stimulates an overall reflection on inclusivity. Nevertheless, the result is not as impactful as expectations demand.

Antony (John Hollingworth), part of the triumvirate of the Roman Empire, is in the loving embrace of the Queen of Egypt, the seductive Cleopatra (Nadia Nadarajah). His absence is not only illegitimate, for the allurement of a foreign alliance, but also too prolonged anyway for his duties both civil and marital. And indeed his wife Fulvia dies without him by his side. To quiet the gossip and before being officially summoned by Octavius Caesar, he returns to Rome, but another marriage and unforeseen war movements throw the couple into a spiral of chases and sedition.

The story takes place mostly in the North African location, with a good number of scenes on Italian soil. The acting is equally split between verbal and sign language, with Cleopatra’s entourage using the latter and the Roman troops and associates speaking English. The big O is equipped with screens, one of them in the form of a sun right at the centre of the courtyard, so it’s easy for everyone to follow the script as it’s performed in both codes. With the audience being fluent in either one or the other form of communication, it required quite some time – if not the full first part – to adapt the eyes and the ears to follow the right flow of the narrative. As we are all grasping the best methods to enjoy a more diverse and inclusive art scene, it feels too clunky and in need of evening out in order for the pace of the play to keep up.

There are more scenes than expected interpreted as comedy, particularly Nadeem Islam is extremely amusing in his impersonation of the eunuch Mardian. And there’s nothing more welcome than a good dose of mirth, a relief in the middle of the tragedy. However, the abundance of these comic scenes and the interrupted rhythm do not allow for the drama and pathos of the events not only to climax but even to develop in the first instance: as soon as a tense moment arises, either of the two aforementioned factors hinders its birth. And so the tragic ending loses the momentum the over two hours running time should have built. However, Nadarajah is great in her stage presence. Peter Landi – in Lepidus – and Gabriella Leon – switching among Iras and Octavia – are compelling.

Despite lacking the proper robust spirit, it’s a praiseworthy attempt to implement a richer linguistic reality.

Cristiana Ferrauti
Photos: Ellie Kurttz

Antony and Cleopatra is at Shakespeare’s Globe from 14^th August until 15^th September 2024. For further information or to book visit the theatre’s website here.

Watch the trailer for Antony and Cleopatra at Shakespeare’s Globe here: