2018
ONLINE RESOURCES
ONLINE RESOURCES ANTONY AND CLEOPATRA © Bell Shakespeare 2018, unless otherwise indicated. Provided all acknowledgements are retained, this material may be used, reproduced, and communicated free of charge for non-commercial educational purposes within Australian and overseas schools. Antony and Cleopatra 2018 Online Resources 2
ANTONY AND CAST CLEOPATRA 2018: Cleopatra Catherine McClements COMPANY LIST Antony Johnny Carr Enobarbus Ray Chong Nee Menas / Philo Joseph Del Re Pompey / Scarrus Lucy Goleby Octavia / Soothsayer / Eros Ursula Mills Charmian Zindzi Okenyo Octavius Gareth Reeves Agrippa / Demetrius Steve Rodgers Lepidus / Clown Jo Turner Alexas Janine Watson
CREATIVES Director Peter Evans Designer Anna Cordingley Lighting Designer Ben Cisterne Composer & Sound Designer Max Lyandvert Movement & Fight Director Nigel Poulton Voice Coach Jess Chambers Assistant Director Penny Harpham Associate Costume Designer Emma Vine
Cover image: 2018 Antony and Cleopatra, Photographer: Pierre Toussaint
ONLINE RESOURCES ANTONY AND CLEOPATRA © Bell Shakespeare 2018, unless otherwise indicated. Provided all acknowledgements are retained, this material may be used, reproduced, and communicated free of charge for non-commercial educational purposes within Australian and overseas schools. Antony and Cleopatra 2018 Online Resources 3
ANTONY AND CREW CLEOPATRA 2018: Stage Manager Julia Smith COMPANY LIST Assistant Stage Manager Gina Bianco Head Electrician Andrew Hutchison Lighting Programmer Steve Hendy Head Mechanist Bob Laverick Deputy Head Mechanist Hayley Stafford Head of Audio Ryan Devlin Head of Costume Rosie Hodge Production Assistant Matthew Schubach Dresser Claire Westwood Costume Cutter Claire Westwood Costume Assistant Brooke Cooper-Scott Costume Secondment Eryn Burnett-Blue Production Work Experience Tigga Crome Set Built by MNR Constructions Lighting supplied by Chameleon Touring Systems Freight provided by ATS Logistics
ONLINE RESOURCES ANTONY AND CLEOPATRA © Bell Shakespeare 2018, unless otherwise indicated. Provided all acknowledgements are retained, this material may be used, reproduced, and communicated free of charge for non-commercial educational purposes within Australian and overseas schools. Antony and Cleopatra 2018 Online Resources 4
BACKGROUND
ONLINE RESOURCES ANTONY AND CLEOPATRA © Bell Shakespeare 2018, unless otherwise indicated. Provided all acknowledgements are retained, this material may be used, reproduced, and communicated free of charge for non-commercial educational purposes within Australian and overseas schools. Antony and Cleopatra 2018 Online Resources 5
BACKGROUND Antony and Cleopatra was most likely first TO THE PLAY performed around 1607 at the later end of Shakespeare’s career by the King’s Men, at either Blackfriars or The Globe Theatre. It didn’t appear in print until the publication of the First Folio in 1623, so if not for this collation of Shakespeare’s works any official copy of the play would be lost to us.
Its classification into any particular genre has proved difficult. The play was originally titled a tragedy, but its comedic and romantic qualities are quite prominent. It is of course considered a Roman play but was also created amidst the final years of Shakespeare’s career where he Figure 1: First Folio, Antony was said to have produced a body of and Cleopatra (first page) experimental works called the Problem Plays. Antony and Cleopatra is also often described as a History, but like all of Shakespeare’s historical accounts it doesn’t exactly adhere to the facts.
Shakespeare’s principle source for this work was Thomas North’s 1579 translation of Plutarch’s Lives: Life of Marcus Antonius. Although Shakespeare’s adaptation draws quite heavily upon this and even extracts original phrases, it also steers far from it. Shakespeare compresses military events, reduc