Theatre Review

Production: Caesar and Cleopatra

Wrote By: George Bernard Shaw

Director: Des McAnuff

Principle Actors: Christopher Plummer, Nikki M. James, Peter Donaldson, Diane D’Aquila

Company: Stratford Festival Of Canada

Theatre: Festival Theatre

Run: August 7^th to November 8^th 2008

Reviewed By: Kindah Mardam Bey (Ontario Correspondent – Canada)

No surprise this will be the hit of the season. Caesar and Cleopatra, the George Bernard Shaw version, not to be confused with the Shakespearean Antony And Cleopatra, is the decadent and seductive production which will encapsulate the infinite talent of Canadian actor Christopher Plummer at the Stratford Festival this year. 

In truth, Plummer does not carry the production, but many factors to this version of Caesar and Cleopatra entices its audience members into the enigmatic relationship of the Roman Emperor and his disenfranchised Queen of Egypt. Of course, Shaw’s language and story takes precedence; thematically delicious in a variety of ways. Des MacAnuff’s skill as predominantly a Director of Musicals is used to its greater potential here as the sets on a very small Festival stage, manage to be grand and commanding.

Long pillars with wide girths, flaming bowls, and people dressed as ancient Gods and Goddesses of Egypt stood in perfect stillness as both statues and seamless set changers. The floor was an array of Egyptian symbols, from Ankh’s to the Eye of Horus. I am sure my Egyptologist uncle would be pithy with the inaccuracies, but it looked to me like a stage that would stand the presence of Rex Harrison and Elizabeth Taylor, or in this case Christopher Plummer and his protégé Nikki M. James. One particular piece of prop which was deliciously magnanimous was a huge white statue of a face hung up, and two huge feet directly in front of it where Cleopatra meets Caesar for the first time; the image manages to plausibly achieve the presence of Rome within the Festival theatre walls.

The human statues were perfectly stoic and much of the detailing of the stage and costumes had the glimmer of gold to them. The stage was brightly lit, which helped the glamour of the gold bounce off the sets and costumes. Overall, the sets, lighting and costumes were reminiscent of Sir Lawrence Alma-Tadema paintings.

I could quite possibly gush over Plummer’s Caesar. I am a little enamoured by him, admittedly. Often when you see a performer or athlete passed their ‘prime’ in action, you feel a refrain of regret that you had not seen them sooner, but in Plummer’s case, the stage was his to command. He was graceful, a true gentleman to his co-performers, and willing to be challenged by his character. Age meant nothing; Plummer is believable enough to be the Roman Emperor Caesar both on stage and in history. Aside from his aristocratic virtues, Plummer was delightfully humourous and his timing and tone hit the mark with perfection every time. The audience were not just delighted because it was Plummer on stage; they were also delighted by his performance in equal measure. 

Sorely wounded after Nikki M. James elf-like, six-year old portrayal of Juliet in this seasons Romeo & Juliet had me hoping her understudy (Sophia Walker would have been a great Cleopatra) was well-rehearsed for her lead as Cleopatra. I had been informed that Nikki was having intense training and the results proved well. She talked towards the audience more, and kept her shrill vocals to a relative minimum. She was respectful to Plummer’s performance and sought a similar guidance in him that the play requires in Cleopatra towards her mentor Caesar. It still baffles me how the company is full of talented and magnetic actresses that even in their youthfulness, could me a delicious counterpart to Plummer, and in their place a girl who needs intense training to submit a mediocre performance next to Plummer is positioned in the key role. I feel sad for Nikki M. James, as the parts of Juliet and Cleopatra are too big for her and her skill is not apt enough yet; the pressure of poor reviews for Romeo & Juliet must have been a hard blow to her. This was a failing of the Director to miscast her so unjustly, but Nikki M. James is working hard, and trying her best, and that can be seen in Caesar and Cleopatra, and she is learning at the knee of a great leader.

Aside from the two leads, Peter Donaldson, who portrayed Atticus Finch last year in To Kill A Mockingbird was fantastic as Caesar’s chief officer Ruffio. Diane D’Aquila plays with ease the brutish woman Ftatateeta, Cleopatra’s nurse. I will warn you that directly after the intermission two women are on the stage bare-breasted (a big deal for some, and not for others). Overall, Caesar and Cleopatra is a delightful production, with great comedy and a fragrance of romance that lingers for many hours after you have seen the final bow. Caesar and Cleopatra will be a hot ticket, so get your seats as soon as you can.