By Manning Harris
fmanningh@gmail.com
Georgia Shakespeare is pulling out all the stops in a huge production of a hugely excessive play (this is a compliment) with two characters of true legendary status: “Antony and Cleopatra,” playing in repertory through July 22 on the campus of Oglethorpe University.
The play is directed by John Dillon, one of GA Shake’s premier guest directors, and I must first thank him for the superb swift pace he achieves here. This is of paramount importance, because even with the Bard’s magnificent language, the play is sprawling, with 2000 scenes (I jest), and without this rapid, cinematic pace even Cleopatra’s barge in all its glory is dead in the water. Mr. Dillon understands this completely; in addition, his set designer (the wonderful Kat Conley) has fashioned a set piece that is both lovely and uniquely serviceable. The slightest adjustment enables the action to go, go, go with virtually no interruption. Brilliant—three hours playing time (including intermission) seems much less.
By the way, I can never let an opportunity pass to fondly remember Mr. Dillon’s legendary 1999 “Hamlet,” performed on this stage. It’s one of the theatre’s gifts to us that memory only enhances true magnificence, and that production, featuring a dream cast, was sheer magic.
Shakespearean scholars say the four most intelligent people in his canon were Hamlet, Iago, Falstaff and—Cleopatra. Here we have a supremely seductive, beautiful woman, yes, but one who also possesses an infinite variety and nuance of intellect and self-knowledge. She’s always at least one step ahead of whoever is around her, and that includes the brilliant Antony. Here she is played by the superb Tess Malis Kincaid, who currently can do no wrong in Atlanta theatre (Actors’ Express’ “Good Boys and True,” Alliance’s “August: Osage County”). I happened to notice that she is the only actor for whom there is not a listed understudy; that’s good. Without her, there would really be no show, for the whole story and success of the play turn on Cleopatra.
Antony is played with subtlety and charm by Chris Kayser. Both Antony and Cleopatra are charismatic political animals who are keenly aware of their own star-power, and it’s fascinating to observe their attraction for each other. But Antony’s star is fading, while Cleopatra retains much of her supernova status: She is a woman in full, as Tom Wolfe might say.
Therefore, one comes to the ineluctable conclusion that perhaps the hugely talented and robust Joe Knezevich, who plays the clever, lively Octavius would have been better cast as Antony; who can say? He’s well-nigh perfect as Octavius, dynamic and also moving in his adoration of his sister Octavia (Ann Marie Gideon).
Allan Edwards plays Antony’s friend Enobarbus; he deserves special mention for a finely-tuned, thoughtful performance. Shakespeare uses Enobarbus as a commentator on the action; and since he’s quite detached and thoughtful, his awed praise of Cleopatra’s charms is all the more impressive. Amlin Gray, incidentally, has done an adroit adaptation of Shakespeare’s text.
Have I mentioned that Cleopatra can be funny? You must see her clowning with the clown about the asp that will end her life. Cleopatra is always herself and yet never stops playing Cleopatra; so of course she must stage her own death scene; it’s magnificent; who else could do it? We’re back to Ms. Kincaid—she’s magnificent, too.
For more information and tickets, visit www.gashakespeare.org.
