Content warning: article contains reference to themes of suicide and death.

The latest instalment of the National Theatre Live at Home is the 2018 production of Shakespeare’s Antony and Cleopatra starring Ralph Fiennes and Sophie Okonedo. The Olivier theatre was transformed into both Egypt and Rome, depicting the fast-paced cataclysm of love and war through the rapid action of this 3-hour epic.

Antony and Cleopatra are ensnared in the illusion their love creates, completely enraptured in each other. This adaptation, in the Brechtian style, opens with the end – Cleopatra’s death. Then, Anthony’s revival of Cleopatra with a kiss, introduces this sensual dreamlike existence they engage in throughout the play. The illusion they indulge in creates an unusual equality in their relationship, otherwise not explored in Shakespeare’s plays. Their lived fantasy actively blinds them to the reality of the conflict occurring around them, which fractures the relationship, and is, ultimately, the foundation of this play.

Hildegard Bechtler’s inventive and adaptive set design depicts the paralleled Rome and Egypt in contrasting styles

Immediately, the grandeur of the set clutches the audience, communicating the power and majesty of not only the characters and locations, but the themes and messages it articulates. Hildegard Bechtler’s inventive and adaptive set design depicts the paralleled Rome and Egypt in contrasting styles. Egypt consists of sunken pools surrounded by dark mosaics, warm lighting and scattered lounging furniture versus the harsher, more clinical, chic and bright setting of the Rome battle control centre. The understated modern dress makes the production’s design subtly gripping. The unpretentious costume recognises symbolism whilst simultaneously emphasising the action of the play.

Ralph Fiennes is particularly commendable, effective and affecting in his portrayal of Antony’s internal conflict. Fiennes’ developmental documentation of Antony’s tragic decline is reflected in the physical change from uninhibited movement when in Egypt to the rigid, tense movement in Rome. Immediately, Fiennes is introduced as a lover. Beginning in Egypt with his ruggedness, in costume and character, allows the audience to see Antony as authentically less calculated and more impulsive. And it is this presentation by Fiennes that creates more dimension to Antony, combined with the realistic, convincing and affecting delivery of Shakespeare’s text.

Fiennes’ developmental documentation of Antony’s tragic decline is reflected in the physical change from uninhibited movement when in Egypt to the rigid, tense movement in Rome

Fiennes noticeably presents Antony as a less convinced military man, appearing almost past his military days. This is a fresh perspective where even as he appears to value Cleopatra and their shared lifestyle over war, he continues to betray their love, by marrying Octavia, for military alliance. It is these repeatedly misguided decisions made by Antony that demonstrate his hubris and contributes to his downfall, making him appear much more human, unlike the legend may suggest. Both characters’ relationships with alcohol are abusive and become dependent when they are apart. The alcohol could be a substitute for each other and an escape back to the fantasy that is as intoxicating as drink itself. Fuelled by drink, the transition of their relationship from epic romance to political alliance arguably marks the irreversible moment of true tragedy – the combination of their love and war is a deadly one.

Sophie Okonedo compliments, if not outshines Fiennes in her depiction of the astute, powerful feminist icon, Cleopatra. Despite Cleopatra’s mercurial temperament, Okonedo interprets her in a powerful way, and rather than display moments of ‘weakness’, Okonedo approaches the character with fierce directness. This majesty and power, both depicted in her physical and verbal delivery, exhibits a power which makes the tragedy of her suicide all the more poignant. Okonedo commands respect as Cleopatra, particularly when interacting with Antony, gains power from the relationship as an equal party, not a submissive ‘wife’. The closing scenes of the play are the most harrowing because Cleopatra has been the driving force of the play as the unconventionally dominant woman, comfortable in her sovereignty. Unlike most of Shakespeare’s women, Cleopatra’s suicide is presented as a much more layered decision than just loss of their lover.

Cleopatra’s suicide is presented as a much more layered decision than just loss of their lover

Watching this production, one feels she is acting for herself as well as for her love, her suicide is not only to re-join Antony but to spite Caesar and claim ownership of her own life and destiny. Okonedo presents her to be resolute, almost martyring herself as a valuable and formidable icon against the events of the war and male conquests of both land and women. Therefore, her death is shrouded in strength and ethical nobility. Reinforced by the live onstage snake, the death is abundantly visceral thereby all the more seizing, provoking a harsh, wrenching reaction from the audience.

The supporting cast is significantly and equally powerful. Tim McMullan as Enobarbus is compelling in his desperate and tragic conflict with loyalty to Antony. Likewise, Tunji Kasim captures Octavius Caesar’s obsession with accumulation of land and power and value of tradition and honour. Hannah Morrish empathetically expresses heartbreak in a visceral and captivating style through her role as Octavia, portraying a divergent femininity, a direct comparison to Cleopatra.

Antony and Cleopatra is more than just a tragedy of a love affair – it is a tragedy of women, war, family and honour

This production is undeniably thought-provoking on academic levels, as well as fundamentally emotionally enthralling. Leaving the audience distraught at the tragedy depicted on stage (with audible gasps from recording) the catharsis is palpable. And yet, this production does well to present the audience with a justifiable and calculated reasoning to the events. Despite Antony and Cleopatra’s love conquering the civil war battles, the sacrifice is unnecessary and too great. Romance holds the ultimate triumph, even if it ends in death. This serves to reinforce the futility of the war and conflict. Antony and Cleopatra is more than just a tragedy of a love affair – it is a tragedy of women, war, family and honour.

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Review: National Theatre at Home – Frankenstein

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