A rich and inclusive reimagining
Blanche McIntyre’s production of Antony and Cleopatra at the Globe Theatre presents a fascinating reimagining of Shakespeare’s classic tale by embracing the cultural and linguistic clash at its heart. This version introduces a bilingual format where the Egyptian court communicates in British Sign Language (BSL) while the Romans speak in English, offering a rich, multi-layered experience that is both visually and emotionally compelling.
The decision to split the languages not only highlights the cultural divide between Rome and Egypt but also adds a physical dimension to Shakespeare’s text. The BSL performances, particularly by Nadia Nadarajah as Cleopatra, breathe new life into the text, making his imagery palpable through every fluid gesture and sharp motion. Nadarajah’s Cleopatra is a whirlwind of emotion—mercurial, fierce, and endearingly petulant. Her presence commands the stage, and her use of both BSL and spoken language at crucial moments deepens the emotional impact of her character’s journey.
John Hollingworth’s Mark Antony, while charismatic and physically commanding, sometimes lacks the reckless passion that drives Antony’s tragic downfall. His portrayal leans towards the rational, which slightly undercuts the fevered intensity expected in his romance with Cleopatra. Nevertheless, their relationship, marked by a tender use of BSL in intimate moments, is portrayed with a sensitivity that makes their eventual separation all the more poignant.
The production’s use of BSL extends beyond mere translation—it enhances the storytelling by adding layers of meaning and humour. Nadeem Islam, as the unfortunate messenger who must inform Cleopatra of Antony’s marriage to Octavia, delivers a standout performance. His comedic timing, aided by the visual expressiveness of BSL, brings a lightness to the first half of the play that contrasts sharply with the tragic events that follow.
However, this early comedic focus may have inadvertently softened the impact of the play’s darker moments, as some audience members struggled to transition from laughter to the solemnity of the final acts. This tonal shift is a delicate balance that the production does not always maintain, leading to occasional disconnects during the tragic denouement.
Visually, the production is supported by Simon Daw’s minimalist design and Natalia Alvarez’s colour-coded costumes, which help distinguish the frequent shifts between Rome and Egypt. The integration of subtitles on screens around the theatre, while initially a potential distraction, proves to be a vital tool in making the performance accessible to all audience members. The subtitles also become a creative element within the play, dissolving into dust with the deaths of characters or changing colour to signify shifts in emotion or power.
Despite minor flaws, this Antony and Cleopatra is a remarkable exploration of communication and cultural exchange. It brings a fresh perspective to Shakespeare’s work, making it accessible and engaging for a modern audience. The production’s ability to unite its diverse audience, with both applause and silent hand-waving at the curtain call, is a testament to its success as a powerful, inclusive piece of theatre.