Paula Plum Rules as Cleopatra

Antony & Cleopatra

By William Shakespeare, Directed by Adrianne Krstansky; Scenic/Lighting Designer, Jeff Adelberg; Costume Designer, Anna-Alisa Belous; Sound Designer/Composer, David Remedios; Properties Designer, John Robert Mulligan; Violence Designer, Ted Hewlett; Vocal & Text Coach, Annie Thompson; Production Manager, Jason Ries; Stage Manager, Adele Nadine Traub

CAST (in alphabetical order): James Andreassi (Antony), Siobhan Juanita Brown (Mardian/ Ensemble), Jesse Hinson (Demetrius/Ensemble), Doug Lockwood (Octavius/ Ensemble), Johnnie McQuarley (Philo/Ensemble), Paula Plum (Cleopatra), Mara Sidmore (Charmian), Richard Snee (Enobarbus/Ensemble), Giselle Ty (Iras/Octavia)

Performances through May 21 by Actors' Shakespeare Project at The Modern Theatre, Suffolk University, 525 Washington Street, Boston. Box Office 866-811-4111 or www.actorsshakespeareproject.org

William Shakespeare's Antony & Cleopatra tells a story of great magnitude with a large cast of characters. Actors' Shakespeare Project and Director Adrianne Krstansky employ an ensemble of nine, requiring all but three of The Players to take on multiple roles. Only Paula Plum as Cleopatra, James Andreassi as Antony, and Mara Sidmore as Charmian, one of the Queen's faithful attendants, are exempt. However, in Plum's rendition, Cleopatra shows that she has multiple personality facets and the actress gets inside each and every one of them to provide a fully realized portrait of the powerful, yet flawed Egyptian ruler.

It would be impossible to list all of Cleopatra's traits, but what follows is a sample of her diverse persona and the many sides of Plum on view at Suffolk University's Modern Theatre: petulant, impetuous, childish; analytical, decisive, strong; selfish, dishonest, narcissistic; temptress, affectionate, charismatic. It is sheer joy to watch her slide from one characterization to another, magically bonding with her paramour Antony, her adversary Octavius Caesar (Doug Lockwood), and her handmaidens (Sidmore, Giselle Ty, and Siobhan Juanita Brown) as she dons the appropriate façade from her bag of tricks.    

Andreassi and Plum are well-matched as the star-crossed lovers. They complement each other physically, appearing natural and comfortable in scenes that call for amorous displays. More importantly, they are convincing when they spar with their words and their wits, portraying the battleground of the couple's love affair as a no-holds-barred arena not for the faint of heart. Andreassi's Antony is full of swagger and full of himself, a larger than life warrior with enormous appetites for ardor, aggression, and self-indulgence. Although most of the play focuses on Antony's big head, Andreassi clearly grasps the nature of the character's big heart when he receives the false news of Cleopatra's death and is driven to drastic measures. Together, they embody their characters' public greatness, as well as their human, private sides.

Lockwood is commanding as the Roman leader, alternating as friend and foe of Antony, and brings an eerie otherworldliness to his portrayal of the black-clad Soothsayer. In an amusing anachronistic moment, as the latter he delivers a pre-curtain speech from the balcony, reminding us to silence all electronic devices. Richard Snee gives a strong performance as Antony's supporter Enobarbus, striking a balance between loyal comrade and cynical observer, finally dissolving dramatically under the weight of guilt and shame.

The rest of the ensemble, which also includes Johnnie McQuarley and Jesse Hinson, rapidly morph from one role to another, often with little external support to differentiate who's who. As Iras, Ty dotes on Cleopatra and shares a warm relationship with her, while her Octavia sublimates her identity to the wishes of her brother and her husband. Playing the messenger who informs Cleopatra that Antony married Octavia and suffers her wrath, McQuarley cowers convincingly, but shifts gears to play a brave soldier. Some oF Brown's and Hinson's character changes are less discernible to one not so familiar with the story.

Jeff Adelberg does double duty as both scenic and lighting designer. His set is minimalistic with a backdrop that is a sculpture of inner springs hung vertically like a quilt, and features a round, raised platform center stage that serves as bed, throne, and what have you; overhead lighting changes set apart the locales of Rome and Egypt, and moments of great drama are often enhanced by ghostly up lighting effects. Anna-Alisa Belous costumes Cleopatra in a variety of designs befitting a queen and conveys the essence of the Roman soldiers' garb. Only the drawstring flannel pajama pants worn by Antony seem ahead of their time. David Remedios doubles as sound designer and composer of original music for the piece.

Antony & Cleopatra is the first professional production to be hosted by Suffolk University at the newly renovated theatre. The Modern is a 185-seat jewel-box of a facility that incorporates the original façade, state-of-the-art technology, and artwork inspired by the original interior design. In 1914, The Modern Theatre was described as the "most elegant state-of-the-Art Theatre of its size," and it is a wonderful addition to the burgeoning Boston performing arts community.

Photo courtesy of Actors' Shakespeare Project: James Andreassi and Paula Plum

 

  

  

 

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