‘Famous patterns of unlawful love’
Antony and Cleopatra, 1677–1931
in Antony and Cleopatra
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Observing that after Shakespeare’s death, while Antony and Cleopatra survived in print, it disappeared from the English stage for the next 150 years, this chapter looks in detail at the play that replaced it on the Restoration stage: John Dryden’s All for Love, or The World Well Lost. It reads All for Love as a domestic drama for a formally correct but licentious age that conducts a psychomachia across a series of two-handed ‘debate scenes’: will Antony be summoned back to Roman duty – or will he remain tangled in the captivating toils of the Egyptian queen? The chapter then fast-forwards across a number of eighteenth- and nineteenth-century productions that all used Dryden’s text before Shakespeare’s, Dryden-free, was returned to the stage in 1849, just at the moment that ‘Egyptomania’ hit England and when spectacular Shakespeare, Shakespeare performed with eye-popping scenes and lavish costuming, was the rage. The chapter ends surveying twentieth-century productions of the play up to 1931, seeing earlier theatrical extravaganzas that necessitated deep textual cuts and re-ordering of Shakespeare’s scenes giving way, under the direction of Harley Granville Barker, to Shakespeare restored, with all his words and scenes, mostly uncut, played in the right order.


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