Josette Simon as Cleopatra was a masterstroke for Iqbal Khan – while Antony Byrne’ performance is highly commendable, and his suicide scene (featuring a heart-breaking turn from Sean Hart as Antony’s servant) was well drawn out, allowing for the tragedy to unfold in the last scenes – Simon’s fierce and comic portrayal of a more three-dimensional Cleopatra transfixed the audience. The stage at the Barbican presents a reimagining of power dynamics and transcendence in the piece; the last seconds of the piece sees Caesar ascend on a raised platform in stage centre, the sole victor of the play, and the changes of scenery from columns (in Roman scenes) to the red velvet curtain (in the Egyptian scenes) also went smoothly, lending an element of showmanship to the proceedings. The costumes are also well worth a mention, following this adaptation’s faithfulness to the original text-the Romans wear body armour, and the costumes of Egyptian characters such as the Eunuch also stay faithful – but it is the women’s costumes, especially those of Cleopatra and her serving maids, that leave a lasting impression. Charmion and Iris’s white and metallic crepe-style gowns are a perfect contrast to Cleopatra’s regal blue and gold outfits and headdresses, and they follow the actors through the choreography of the piece. The soundtrack did, at first, seem to leave something to be desired in its simplicity, but Laura Mvula’s voice and the live orchestra and vocals were transformed by the presence of atmospheric lighting, especially in the scenes after Antony’s defeat at sea.
All in all, a fierce and thoughtful adaptation.
Commentaires