In the words of the great man himself, “If you have tears, prepare to shed them now,” unless you were one of the happy few who saw Another Way Theatre’s production of “Antony and Cleopatra” in Caterham.
Cole Porter’s advice jars - ”If your blonde won’t respond when you flatter’er, /Tell her what Tony told Cleopaterer” – because every word of admiration bestowed by the two protagonists (Chris & Nicky Chambers) upon each other was full of heartfelt sincerity, all the more cheering when we contrast this modest husband and wife team from Warlingham and their modest (but convincing) budget production with the lavish extravaganza of the notorious Burton-Taylor film of the same story.
Jean Hammond’s costumes were exquisite, the music suitably exotic, with snake-like elements during the biggest asp-disaster scene.
Props were fine – Cleopatra’s love couch, smoke for battles, ship sails, torches for the darker moments and bleakly auguring black crows.
We start with Blind Man’s Buff, symbolizing A & C’s escapism, not surprising when we later hear of what a toughie celebrity soldier Antony (Chris Chambers) used to be.
All the cast were impressive even if the greatest star was inevitably Shakespeare himself. How fresh and meaningful was the language, and how well interpreted! The lovers’ obsession brings out the bard’s creative best: “There’s beggary in the love that can be reckon’d.”
“Eternity was in our lips and eyes.”
“So I hence fleeting here remain with thee.” (So much psychological truth is held in the oxymoron!)
Unforgettable too is the mental picture, inspiring so much painting, of Cleopatra’s arrival by barge.
And does this sound familiar? – “Age cannot wither her…”
What has “a gypsy’s lust” done to Antony? Octavian (Luke Walsh) speaks with genuine admiration of how he had been “so like a soldier”. The future Augustus came across as a really 3D personality, genuinely caring for his sister but always shrewd in politics.
Maecenas (Dan Avery), future Minister of Culture, made a convincing soldier, counsellor and messenger. His being whipped contrasted the restoration of treasure to Enobarbus (Andrew Fitch), indicating respectively the dark and generous sides of Antony’s character. In this, he matches Cleopatra’s (Nicky Chambers) unpredictability (though sometimes hers is deliberate, as in her coquettish behaviour towards him).
It has been said that conflict is the essence of drama. So we get civil war, the clash between the individual and the state, duty and inclination, arranged marriage and adultery, sobriety and drunkenness (particularly demonstrated by Caesar and Lepidus (Robert Rowe), promises and politics.
My favourite moment? When Cleopatra speaks of the now dead Antony: “His legs bestrid the ocean…”
Small wonder the programme notes call it a soap opera.
Like his supposed ancestor Hercules, Antony’s reason is lost - through the most dangerous addiction of all, namely love.
Reviewer M.A.G. 20.6.2013
Cole Porter’s advice jars - ”If your blonde won’t respond when you flatter’er, /Tell her what Tony told Cleopaterer” – because every word of admiration bestowed by the two protagonists (Chris & Nicky Chambers) upon each other was full of heartfelt sincerity, all the more cheering when we contrast this modest husband and wife team from Warlingham and their modest (but convincing) budget production with the lavish extravaganza of the notorious Burton-Taylor film of the same story.
Jean Hammond’s costumes were exquisite, the music suitably exotic, with snake-like elements during the biggest asp-disaster scene.
Props were fine – Cleopatra’s love couch, smoke for battles, ship sails, torches for the darker moments and bleakly auguring black crows.
We start with Blind Man’s Buff, symbolizing A & C’s escapism, not surprising when we later hear of what a toughie celebrity soldier Antony (Chris Chambers) used to be.
All the cast were impressive even if the greatest star was inevitably Shakespeare himself. How fresh and meaningful was the language, and how well interpreted! The lovers’ obsession brings out the bard’s creative best: “There’s beggary in the love that can be reckon’d.”
“Eternity was in our lips and eyes.”
“So I hence fleeting here remain with thee.” (So much psychological truth is held in the oxymoron!)
Unforgettable too is the mental picture, inspiring so much painting, of Cleopatra’s arrival by barge.
And does this sound familiar? – “Age cannot wither her…”
What has “a gypsy’s lust” done to Antony? Octavian (Luke Walsh) speaks with genuine admiration of how he had been “so like a soldier”. The future Augustus came across as a really 3D personality, genuinely caring for his sister but always shrewd in politics.
Maecenas (Dan Avery), future Minister of Culture, made a convincing soldier, counsellor and messenger. His being whipped contrasted the restoration of treasure to Enobarbus (Andrew Fitch), indicating respectively the dark and generous sides of Antony’s character. In this, he matches Cleopatra’s (Nicky Chambers) unpredictability (though sometimes hers is deliberate, as in her coquettish behaviour towards him).
It has been said that conflict is the essence of drama. So we get civil war, the clash between the individual and the state, duty and inclination, arranged marriage and adultery, sobriety and drunkenness (particularly demonstrated by Caesar and Lepidus (Robert Rowe), promises and politics.
My favourite moment? When Cleopatra speaks of the now dead Antony: “His legs bestrid the ocean…”
Small wonder the programme notes call it a soap opera.
Like his supposed ancestor Hercules, Antony’s reason is lost - through the most dangerous addiction of all, namely love.
Reviewer M.A.G. 20.6.2013
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