Antony and Cleopatra

by William Shakespeare

seen at the Barbican Theatre on 6 January 2018

Part of the RSC's Rome MMXVII season, this play is directed by Iqbal Khan and features Josette Simon as Cleopatra, Antony Byrne as Mark Antony, Ben Allen as Octavius Caesar and Andre Woodall as Enobarbus. It is interesting, but in the event justified, that the characters common to both Julius Caesar and Antony and Cleopatra - namely, Antony himself and the other triumvirs Octavius and Lepidus - are played by different actors in the two productions, though many of the supporting cast appear in both.

Robert Innes Hopkins designed both productions, giving a sense of visual unity while expanding the palette, as it were, to include the Egyptian scenes, their general sensuousness signified by a large draped curtain to offset the sterner vertical and horizontal lines of Rome, and the occasional appearance of large cat statues. But, with a different director, even if the visual presentation was broadly related, the overall approach was inevitably different, most notably in the sound world in which the brass and percussion of the earlier play are here supplemented by (electric) guitar and saxaphone. 

Julius Caesar

by William Shakespeare

seen at the Barbican Theatre on 6 January 2018

Part of the RSC's Rome MMXVII season, this play is directed by Angus Jackson and features Alex Waldmann as Brutus, Martin Hutson as Cassius, Andrew Woodall as Julius Caesar, James Corrigan as Mark Antony and Jon Tarcy as Octavius Caesar.

The setting is notionally Classical (columns, and a foreboding statue of a lion mauling a horse, feature at the back of the stage in the first half, rather than any realistic evocation of sites such as the theatre of Pompey where Caesar's assassination actually took place; rough indications of open landscape for the second half - designer Robert Innes Hopkins); the costumes also feature togas and tunics, but also very un-Roman red calf-length trousers.

This helps establish the historical background, and allows for very fine visual effects when, for example, the conspirators move from being a group of symmetrically placed almost-statues to a mob of baying assassins. It also gives added effect to Julius Caesar's stately arrogance, while allowing us to see the human frailty it is meant to conceal (a certain elderly deafness as well as hints of the epilepsy referred to by Cassius). Andrew Woodall shows us the arrogance of the man who evidently will not need much more persuading to become a king.