Scheming and passion abound in Melbourne Shakespeare Company’s Cleopatra & Antony. Based on the Shakespearean tragedy Antony and Cleopatra, written about 1606, it concerns power and politics, but is a deeply personal story. Set during the final years of the Roman Republic, the 13-strong cast throws itself headlong into the desire and subterfuge that drive the plotting.
Melbourne Shakespeare Company’s focus is clearly on the volatile relationship between Cleopatra and Mark Antony, and Antony and Octavius Caesar. The latter has an insatiable quest for control and territory. Enthusiastically narrated by Tsungirai Wachenuka, who also plays Cleopatra’s trusted servant, confidante and advisor, Cleopatra & Antony has real bite.
Akina Edmonds is regal and expectant as Cleopatra. Louis Lucente is a bundle of pent-up energy as Antony. There is a supercilious smirk on the face of Damon Baudin, who fills the role of the ambitious Octavius Caesar. Jennifer Vuletic is resolute as Caesar’s highly competent strategic advisor, Agrippa. Angelo Torres channels otherworldly presence as the Soothsayer, providing counsel. The rest of the cast, too, fill their roles – many assume multiple personas – with aplomb.
The company has gone with a less is more approach to the staging – a couple of busts, three tiers of marble stairs, sailcloth and a few carefully chosen props. Set designer Eloise Kent makes that work very well, with the actors left to do the heavy lifting. David Stewart orchestrates a most evocative sound design – redolent short bursts of music and transformative sound effects.
Also aiding the cause is Rob Sowinski’s carefully curated lighting design. I was taken by the choreography, which includes rapid movements across stage in pivotal scenes, courtesy of movement director Tom Royce-Hampton. Costuming is another source of pride – the two striking blue gowns chosen for Cleopatra being a standout. The costume coordinator is Samantha Hastings.
Artistic director Jennifer Sarah Dean and director Sonya Suares show, in no uncertain terms, what a formidable combination they are. While, to my eternal shame, I never studied Shakespeare, I found Cleopatra & Antony an involving and emotive experience that I highly commend. Ninety minutes without interval, it is on at fortyfivedownstairs until 13th September, 2026.
Alex First
Other reviews you might enjoy:
- Othello (Melbourne Shakespeare Company), at fortyfivedownstairs – theatre review
- Mr Burns, A Post-Electric Play (Lightning Jar Theatre) – theatre review
- Travesties (Bloomsday in Melbourne) – theatre review
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.