By Rebecca Law

Following a stint at the Swan in Stratford in spring 2006, Antony and Cleopatra, the second in the series of the RSC’s recreation of Shakespeare’s entire oeuvre, has moved to the larger setting of London’s Novello Theatre. Whilst critics claim that the production has lost much of the intimacy the former venue afforded it, director Gregory Doran does by all intents and purposes succeed in bringing us a beautifully crafted and intelligently interpreted version of Shakespeare’s other tale of all-consuming love.

This is a wonderfully acted, sensual production, which succeeds where others have failed. Not only does Doran bring us the central relationship between the two protagonists but balances passionate prowess with surrounding political warfare; the two of which are intended by Shakespeare to merge naturally and seamlessly.

Patrick Stewart as Mark Antony captures beautifully the essence of a man in love, thrust back to adolescent playfulness and allowing all else in his life to take a back seat. From overblown romantic gestures to the tiniest of physical movements, Stewart convinces us that he is captivated by Cleopatra, his queen. As the piece goes on, Stewart lives out the path of a man obviously in decline, both physically and mentally. His fury, as he trades political prowess for passion, is palpable.

Harriet Walters was a wise choice for the queen, who was, as legend would have it, captivating not so much through her physical beauty as through her capacity to enthral and manipulate with charisma. Handsome and suitably beaky, Walters embodies Shakespeare’s woman of “infinite variety,” successfully bringing out the many facets of this complex character, swinging from overbearing to theatrical, from captivating through vulnerable to hopelessly in love.

The set is simple – just a backdrop of a map of the old Roman Empire which changes colour in accordance with mood and action, but it plays its part in creating an evocative production overall. While it makes no attempt to distinguish between the differing worlds in which the action is set, its minimalism does allow for the production to crescendo to a visually spectacular ending, which captures the resplendent image of the Cleopatra that has captivated the world for the last two millennia; docile, regal and desirable. Adrian Lee’s beautifully emotive music complements the simplicity of the set, aurally filling the spaces that the set may have left visually bare.

The key to this production’s success lies mostly, however, with the refreshing take on the play’s themes, enabling the modern-day audience, despite the archaic language, to relate utterly to the action. The representation of politics, sexual desire and human relationships all resonate with the modern world, showing that little has changed throughout the ages. Antony, away from the grip of his woman, is seen happily cavorting and swaggering with his sailors like a drunken youth, in a bout of male camaraderie, whilst Cleopatra seeks solace in her female attendants and companions.

Overall, this is a production of remarkable performances. Also noteworthy is Octavius, played by John Hopkins, who is capable of creating an air of discomfort and suspicion through the slightest of actions, making us realise that the Empire is in fact in the hands, predominantly, of two men who despise one another. Ken Bones also gives a wonderfully wry performance as Enobarbus, seemingly the only adult figure in a world of grown men who have a habit of throwing their toys out of their prams.

The Royal Shakespeare Company production continues at the Novello Theatre until February 17.