Antony and Cleopatra
Antony and Cleopatra has the strangest stage history of any of Shakespeare's major tragedies. Richard Madelaine explains how the play's challenging complexity has at different times inhibited or promoted its success on the stage, and accounts for the remarkable resurgence of performances in the last twenty years. Madelaine provides the only detailed, extensive and up-to-date history of the play on stage and screen, in and beyond Britain. His introduction and commentary examine the ways in which cultural factors have shaped the performance of the play, and how actors have tackled the main parts, in particular the exotic eroticism of Cleopatra. In the process he reveals not only the rich plurality of possible readings of the play, but also changing attitudes to Shakespeare.
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15 October 1867 Calvert's acting 28 December actors actresses Agate AGRIPPA Alexas Antony and Cleopatra Antony's April audience BBC television version Benedict Nightingale Benson Birmingham Bridges-Adams's Brief Chronicles Brook's production Byam Shaw's Caesar Caird's Calvert's acting edition Charmian costumes critics Crowl Cut in Phelps's death Dench DOLABELLA Dryden Egypt Egyptian Egyptomania Elizabethan emphasised ENOBARBUS Eros Exeunt Exit galley scene Glenda Jackson Glyn Guardian Hall's production Helen Mirren Helpmann's Iras Isabella Glyn Jacobean Janet Suzman Jeremy Kingston John Judi Dench Kemble's kiss Lepidus lines lord lovers Macready's madam MAECENAS Mardian Mark Antony MENAS messenger Michael Billington Mirren modern monument November Nunn-Scoffield television version Octavia Old Vic passion performance Phelps's production promptbook play play's political Pompey printed edition protagonists queen Redgrave's reviewers role Roman Rome SCARUS September 1873 sexual Shakespeare Shakespeare Observed SOLDIER SOOTHSAYER Stratford Stratford-upon-Avon style Suzman Theatre theatrical thee Thidias thou Tree's Trewin Vanessa Redgrave whilst