Redgrave shines in `Antony and Cleopatra'
The Alley Theatre's Antony and Cleopatra is an absolute powerhouse of a production. It is the sort of production that leaves you feeling as though every inch of stage, every thread of costume and every breath from the actors has been used. No stone is left unturned, and no piece of drama is left untouched.
In the title roles, David Harewood and Vanessa Redgrave are nothing short of amazing. While this same role in Julius Caesar did not give Harewood much room to develop, this production imbues him with an incredible amount of power. He is king of the stage, king of his world and king of his Egyptian queen. He is a mighty presence on stage and performs with definite fire and passion. The only moments that weren't dead-on were some of the more emotional ones, which he occassionally played a bit too far over the top. However, this is Shakespearean tragedy.
In Julius Caesar , I felt as though I didn't get enough of Redgrave. Even in this title role, she left me feeling the same way. I wanted even more time to watch her on stage. The amount of energy that she pours into her performance made me wonder how she was able to stand for the curtain call. She is definitely a consummate professional and artist.
The best thing about the performance is the way she sees Cleopatra as a woman of variety and intrigue rather than the stereotypical image of Cleopatra the beautiful, yet weaker sex, woman of the throne. There is no weakness in this Cleopatra whatsoever.
Not only did Redgrave perform beautifully, but she also directed the show with a solid vision and a great skill at making use of every performer to their fullest.
When these same actors starred in Julius Caesar , they seemed a bit rough around the edges, but the configuration they form for this show was a huge beast prepared to pounce on the audience at a moment's notice. Redgrave manages her cast tightly and effectively.
Again in a role of amazing power is Howard Saddler as Octavius Caesar. This actor was simply born to play roles that exude power and passion. With a voice that could make a recitation of the phone book exciting and an amazing physical presence, he is an absolute joy to watch on stage.
Another interesting face in this crowd was Don Campbell as the Egyptian. Although his role is of a sidelines nature, his presence is felt throughout the production. As an old and possibly homeless man, he maintains a palsy throughout the show and serves as a balance to the powerful characters that surround him on stage. He has several scene-stealing moments in which, with merely a facial expression or a small gesture, he conveys the meaning of a whole monologue.
I only wish that I had the space here to praise everyone involved in the show. This production also lays strong evidence that, for Julius Caesar , the cast was simply not pol- ished yet. I'd imagine that a viewing of Caesar now would also be fine entertainment.
But, if you only see one of the two productions, Antony and Cleopatra is definitely the way to go.
This item appeared in the Arts & Entertainment section of the February 2, 1996 issue.
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