THEATRE AT HOME REVIEW: Antony and Cleopatra ★★★★

Antony and Cleopatra
The National Theatre, London
Tuesday 18th September 2018 - Saturday 19th January 2019

Guest Review By Molly Clements.

Starting 2019 off with a bang, Simon Godwin’s production of Shakespeare’s Antony and Cleopatra at the National Theatre has been a glamorous success for its velocity, presentation, polyphonic challenge of the text and not forgetting the titular shining protagonists portrayed by Sophie Okonedo and Ralph Fiennes, Backed by a well-tuned company in Fisayo Akinade and Gloria Obianyo, who held a lot of my attention, with our two lovers standing supported but heralded; Fiennes’ as Antony was a theatrical package deal, with devilish control, captivating power and a quick wit when permitted. It was Okonedo’s rawness though in the delivery of Cleopatra’s text that provided the fiery command of the play; at times they match each other perfectly, believable and unsurprising, but Okonedo led me to believe that the Queen of Egypt and her hoard had truly arrived at the South Bank.

Antony and Cleopatra is Shakespeare’s fifth longest play. A thinning of the text still resulted in a 3 and a half hour run time; upon watching from the comfort of my home this coming week I may feel slightly more comfortable. Yet on more than one occasion as I sat front row at the Olivier, to keep full attention felt laborious and often I found myself soaking up more of the atmosphere than the text. We could blame the Bard for this, but we shall also forgive him as soldiers coming off and on persistently might have been appreciated more by those watching in previous centuries. Despite this, and it feels strange to write as well as to read, the suicide of Antony and the entire departure of Cleopatra in the final Act are worthy of receiving the highest praise; Simon Godwins' direction gave this play a 21st Century representation and the results are worth the watch. Fighting and falling in love is timeless and this production was a testament to that.

I can sing further praise to Hildegard Bechtler’s design presenting the gargantuan drum revolve stage in its full glory. We were seamlessly moved from palace, to the office and eventually the battleground; with Cleopatra’s exotic poolside nearly always in view, the usual bag of tricks from the National didn’t take away from the epic storytelling that was to be had. The music gave a scent of perhaps some traditional eastern percussion but then took into account emotion and war. 

Overall, It truly was for me in that bitter January a feast for the eyes, and though sometimes we did have to internally wander from the centre speech, when Okonedo and Fiennes came together, I knoew that myself and the other 1,149 people in that auditorium were absolutely starstruck.