Boying greatness
The Citizens’ Theatre (Glasgow), 1972, and Northern Broadsides (Halifax), 1995
in Antony and Cleopatra
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Taking a cue from Cleopatra’s nightmare vision of being taken captive to Rome where the ‘quick comedians’ will ‘stage’ her, some ‘squeaking … boy’ making a travesty of her ‘greatness’, this chapter looks first at the burlesque tradition from F. C. Burnand to the Carry On films of remaking Antony and Cleopatra as farce. Then it looks in detail at two straight but seriously unconventional British productions that reframed the play’s meaning by staging alternative interpretations to those currently on offer at the Royal Shakespeare Company. At the Citizens’ Theatre, Glasgow, Giles Havergal drew on the theatre’s history, location and popular appeal to make a radical adaptation of Shakespeare’s script that used only seven actors and cross-cast Jonathan Kent as Cleopatra in what reviewers called the ‘Zulu’ Antony and Cleopatra. In Halifax, Barrie Rutter continued his campaign to claim Shakespeare for the Northern voice, opening Northern Broadsides’ production with a burlesque scene played by a ‘squeaking’ Cleopatra that gave way to a serious staging in modern dress whose most celebrated quality was the electrifying delivery of Shakespeare’s writing.

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