★★★★☆
Melbourne Shakespeare Company returns to fortyfivedownstairs with Cleopatra & Antony, an adaptation of Shakespeare’s historical tragedy by Sonya Suares.
Serving as an abridged retelling of the original, Cleopatra & Antony explores the roles the title characters play in both the text and in history. But viewers might find it doesn’t go far enough to reinvent the classic play.
The original Antony and Cleopatra tells the story of Queen Cleopatra and her relationship with Mark Antony, one of Caesar’s generals. The two fall in love, but their relationship is challenged by the geopolitics of the time. The story ends in tragedy with the pair dying after a failed attempt to wage war with the Roman Empire.
Sonya Suares’ adaptation tells the story in much the same way, with the most notable change being to cut the story down into a ninety-minute production.
With a change in the title, there was some expectation that Cleopatra would be more central in the story. While there are moments where Cleopatra’s role in history and unfair treatment in modern culture is discussed, it did leave me wanting for more.
Much like the original play, a large segment in the middle of the production sees Cleopatra pushed to the side. We follow Antony in the Roman Empire as he attempts to strengthen his political position.
Despite the addition of monologues from Cleopatra’s attendant, Charmian, (Tsungirai Wachenuka) emphasising Cleopatra’s historical importance and power, she still feels like a secondary character to Antony.
There is much to love about this production, however, particularly the impressive work from the cast. Akina Edmonds is incredible in the role of Cleopatra, flawlessly flitting between cunning and charming, scheming and seductive, elevating every scene she is in.
As Cleopatra’s counterpart, Louis Lucente delivers a performance that initially leans into Antony’s machismo and brooding intensity, eventually giving way to a softer side.
Damon Baudin’s turn as Octavius Caesar becomes one of the more captivating performances of the night. Despite his position as the ruler of the Roman Empire, Baudin’s Octavius is meek and distinctly weaselish, an intriguing contrast to the intimidating, chiselled bust of Julius Caesar present on stage throughout the production.
Between these two performers, there is an interesting exploration of masculinity on display, playing excellently against Edmonds’ Cleopatra.
The surprise of the night is actor Jennifer Vuletic as Agrippa. Vuletic has an infectious presence on stage, from physicality to vocal delivery, while never drawing away from the other actors.
The set, designed by Eloise Kent, includes minimal furnishing, but the curtains on stage are immediately eye-catching with their resemblance to ship sails. In the big naval battle towards the end of the play, these curtains shift side-to-side, giving that feeling of motion to the action on stage, a highlight of the show.
As is the case with the venue, there are sightline issues created by the presence of rebar columns native to the space. Audiences should be aware that, depending on their position, they will not have visibility of some areas of the stage.
In their 2025 season, Melbourne Shakespeare Company presented a compelling adaptation of Othello, which placed a greater focus on the titular character’s past as a wartime general. A similar approach here could have offered greater opportunity to explore Cleopatra’s perspective.
Although not without its ups and downs, Cleopatra & Antony is a worthy production that will certainly satisfy Shakespeare lovers.
Cleopatra & Antony is presented by Melbourne Shakespeare Company and runs to 13 September at fortyfivedownstairs. 45 Flinders Lane Melbourne Vic 3000.
Tickets: https://fortyfivedownstairs.com/event/cleopatra-antony/
Website: https://www.melbourneshakespeare.com/cleopatra-and-antony
Socials: https://www.instagram.com/melbourneshakespeare/
Photo credits: Nick Mick Pics
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