Talk Like an Egyptian: Genesius Guild’s “Antony and Cleopatra,” at Lincoln Park through July 20

I’ve never been disappointed to spend a Sunday in the park with Shakespeare, though I am grateful that, this past Sunday night, the weather was fairly mild for July. I admit to being only vaguely familiar with Antony & Cleopatra before the evening commenced, but I was not fully anticipating the story to be as epic as it was in director Alaina Pascarella’s production.

Antony & Cleopatra, a tragic romance by William Shakespeare, explores the tumultuous relationship between Mark Antony (Justin Raver), one of Rome’s officers, and Cleopatra (Irene Herzig), the charismatic Queen of Egypt. Caught between duty and passion, Antony’s love for Cleopatra leads to political fallout, betrayal, and ultimately, their downfall.

The Genesius Guild program says that the script was adapted from the Folger Shakespeare Library, but it doesn’t credit an adapter. Now, it might've been my lack of knowledge with the story of these two political lovers, but I found the plot rather difficult to follow, especially considering it didn’t seem like much was happening.

This isn’t to say Pascarella’s cast didn’t have some excellent players. Raver’s Antony had wonderful stage presence in his broody character; moreover, I never had a difficult time hearing him. Herzig and her gaggle of ladies that surrounded her (chiefly Liz Sager's Iras and Anna Schneider's Charmian) were most compelling to watch, as well. Whether they were swooning or grieving, their actions kept me enthralled.

With a large cast of 21, it makes sense that not everyone would be utilized all the time, but it was interesting to me how some actors stood out even amongst the crowd: Stephanie Burrough, as Pompey, demonstrated great skill in her Act I stage time, even though she didn’t return until the final bows.

And speaking of bows, one particular directorial choice Pascarella made was that any actor whose character met an untimely demise on stage exited in semi-darkness but took a bow before departing. This often resulted in audience members clapping, although none of these moments took place during the curtain call, and even with some time to reflect, I am unsure why that directorial choice was made, But it was certainly memorable.

As I perceived Octavius Caesar to be the main antagonist, it was surprising to me that his portrayer Joe Sager seemed to be rather nice. Perhaps this was a conscious choice of Pascarella's to remind us all that even when we face perceived antagonism, our true enemies are ourselves and our own choices. Also, in this version of Antony & Cleopatra, Antony’s new wife Octavia (Jessalyn Cohen) seemed to be more of an afterthought than my reading of the play's synopsis suggested.

Meanwhile, there were other fascinating aspects to this Antony & Cleopatra, including an interesting scene in which the men of Rome were imbibing, incorporating Gabriel Thompson’s sound design in a markedly playful way with a dollop of more modern tunes set to a slightly more minstrel-esque style. This moment of levity was a bright spot in the production, as the cast looked decidedly relaxed and comfortable – it’s amazing how sound design can elevate the mood of a show and the spirits of the audience, as well. I only wish there had been more of it, though I understand why that would've been impractical. Pacarella’s cast was already battling against plenty of ambient Lincoln Park noise – no need to push it.

Another moment set to music was what I can only describe as an epic water-battle ballet, in which Pascarilla’s cast danced with blue fans, symbolizing the Ionian Sea water in the naval Battle of Actium. In terms of the plot, this battle is where Antony’s military failures mirror his moral and emotional collapse. In terms of staging, this dance sequence seemed slightly out of place, but also became one of the more memorable parts of the evening. And visually, the blue fans unquestionably popped against the otherwise neutral stage picture, further emphasizing the importance of the water imagery.

Overall, designer Shannon Ryan's costumes were straightforward and practical; with Cleopatra in gold, and her sidekicks in green, they all looked lovely. Most of the cast’s costumes don’t necessitate comment, but I spent longer than I’d like to admit wondering about Raver’s tunic, which was comically short. However, when it truly became dark and Josef Bodenbender’s lights were illuminating the costumes, it turned out that Raver’s cape, among other costume pieces, sparkled. Seeing the costumes literally in a new light brought a whole new depth to this production.

I admire Genesius Guild’s commitment to producing Shakespeare twice a summer, and while I don’t know that Antony & Cleopatra has become a show I adore and would seek out purposely, I'm very glad for the chance to say that I’ve now seen it performed. Because – can’t we all agree? – watching a live Shakespeare theatrical performance on a beautiful summer night is notably more fun than reading it.

Genesius Guild's Antony & Cleopatra runs in Lincoln Park (1120 40th Street, Rock Island IL) through July 20, and more information is available by visiting Genesius.org.