stage
The American Shakespeare Center‘s production of Antony and Cleopatra on October 18 showcased acting talent, but the range of stage skills seemed to conflict and prevent collaboration onstage. The actresses showed great energy, acting range, and breathing capabilities; the actors matched their female counterparts in energy, but fell short of fully realizing Shakespeare’s men. Combined with few set pieces and rich costumes (Cleopatra’s bordering on striptease), the production maintained a fast pace but failed to sustain the emotional arc of a Shakespearean epic.
The three ensemble actresses successfully balanced emotion and textual communication with their sustained energy and strength in handling the language. As Cleopatra, Elisabeth S. Rodgers shouldered the burden of Shakespeare’s demands for mood swings at the turn of a phrase. Occasionally, it appeared as if Cleopatra was truly experiencing emotions rather than using her portrayals as manipulation; in some scenes, this left Cleopatra looking like a child, but Rodgers typically succeeded in connecting the Egyptian ruler’s mood swings. Allison Glenzer (multitasking as Iras and Octavia) provided a nice counterpoint in her characters, allowing a common thread to connect and motivate each character’s action. Susan Heyward also balanced Cleopatra’s emotions in her performance as Charmian, but her performance lacked depth. Between these three women lay the performance’s strengths in listening, motivation and collaboration.
 Conquered! The current production of Antony and Cleopatra makes hungry where most it ought to satisfy. |
As Antony, Jan Knightley was the exception among his male counterparts; he commanded the language and phrasing without over-enunciation and with enough breath. In a few moments of great emotion, however, he allowed emotion to overpower text and buried textual understanding. Benjamin Curns, playing the soldier Enobarbus, also struggled to balance text and emotion as he, along with most of the male actors, appeared to believe spit-eliciting enunciation can communicate the necessary emotions and textual meaning (although Enobarbus’ trademark speech describing Cleopatra as "[making] hungry where most she satisfies" remained a well-painted poetic picture).
René Thornton, Jr., in the role of Pompey, also succumbed to the belief that enunciation equals communication (In his secondary role as Alexas, Thornton spat less, which allowed him to communicate better through the text). Additionally, unlike the actresses who handled the fast pace and language with exceptional breathing power, the actors seemed rushed for air on the longer sentences.