Antony And Cleopatra (Long Beach Shakespeare Company's 2026 Production) Theatre Review

Long Beach Shakespeare Company's new production of Antony And Cleoptra at Helen Borgers Theatre is done with few props and in modern dress, the focus being on Shakespeare's text and the characters' relationships, particularly that of the two titular characters. It is a fast-paced production, without intermission, and with the entire cast remaining in the playing space throughout the performance. In fact, as the audience enters, the actors are already on stage, greeting people as they take their seats. Though this is a small theatre, the performance is done in the round, with a half-dozen chairs placed along what would normally be the stage left and stage right walls, and even a couple of chairs upstage from the main audience area. Thus, much of the audience is in the action, which makes asides feel all the more natural. A line from the play, "Eternity was in our lips and eyes," is written on both the stage left and stage right walls. It is a line spoken by Cleopatra to Antony in the play's first act, and it is a line that is striking for while it speaks clearly of their relationship, it is something that most of us feel when falling in love. And so the audience takes that thought, that feeling into the performance.

So it is perhaps no surprise that the first line spoken in this production is Cleopatra's first line, "If it be love, tell me how much." She and Antony are seated on a chest which is placed center stage and will act as an important platform throughout the performance. That line, delivered so well by Angelina Green, establishes Cleopatra's character perfectly. She is perhaps the most powerful woman in the world, and yet there is something of the young woman in her when it comes to love, something insecure, something needy. Angelina Green's Cleopatra is wonderfully playful in these opening moments, while Dominic Ryan Gabriel's Antony is a bit more stoic, a bit more somber. He stands on his "Let Rome in Tiber melt," as to stress his position. The actors are mainly in plain black clothing, helping with the sense of an ensemble piece, but Cleopatra's costume has a little more excitement to it, which seems exactly right, with tall boots and bits of jewelry (and, later, her special robe). Cleopatra's "Why did he marry Fulvia and not love her?" is delivered to the audience, making us part of her court. Antony engages in play too, and his "Last night you did desire it" receives "Ooohs" from other cast members, and perhaps from a few people in the audience too, for the barrier is quickly blurred. Antony shushes them. Charmian (Olivia Frias), following Cleopatra's lead, has fun with her "let me be married to three kings in a forenoon, and widow them all" speech. And Enobarbas (Connor Bowen) playfully peeks inside the chest before then announcing that Antony is coming. All of this works to create a deliciously light and mirthful mood and atmosphere.

The theatre's naturally intimate space, enhanced by the in-the-round setup, keeps the audience close to the action. And it allows for some softly delivered lines, such as Antony's speech after he learns of his wife's death. Dominic Ryan Gabriel is particularly good in that moment, and his delivery draws us in even closer, and works in great contrast to the established mood. The production makes excellent use of what space there is, particularly the chest, as I mentioned, and the platform upstage. For example, on "O, never was there queen/So mightily betray'd" Cleopatra stands on that platform so that she is above Antony, as she needs to be heard, to feel a regaining of power. She then returns to his level for her speech that contains the "Eternity was in our lips and eyes" line, once again intimate. And it is remarkable that we feel that intimacy so strongly even when the couple is among so many people. And Pompey (Arjun Lakshman) stands on the chest, surrounded by the ensemble, on "I shall do well:/The people love me." When Antony and Caesar (Justin Valine) meet, and size each other up, they are standing on opposite sides of the chest. Another interesting result of the way the space is used and the way the cast remains on stage is that when characters speak of other characters that are not present in the text they are able to look directly at them. This creates some fascinating stage pictures, for it is like we in the audience are able to see their thoughts. For example, when Caesar says "to tumble on the bed of Ptolemy," he indicates Antony and Cleopatra, who are engaged in an intimate moment on the chest. Later, when Antony speaks of Enobarbus who has gone to Caesar's camp, he stands directly in front of him, though Enobarbus is not actually in the scene. It's a powerful and emotional moment. And when Agrippa (Eduardo Mora) suggests that Antony take Octavia for wife, Octavia (Julianne Holmquist), who has been watching from upstage (but is not present in this scene in the text), steps down and makes a circuit of the action before returning to her spot. She, by the way, is able to convey so much with just a look, an expression. And speaking of expressions, it is clear from Justin Valine's expression that Caesar does not fully trust Antony even when taking his hand to seal the pact, agreeing on the marriage. Another wonderful stage picture is created when the Messenger describes Octavia to Cleopatra, for Octavia and Antony are lying down upstage, Antony's head on her lap, and it is painfully clear that Octavia is far from what the Messenger describes. Seeing Antony and Octavia in that moment also makes us feel more for Cleopatra.

More lines are delivered as asides in this production. For example, when Cleopatra says, "Thou teachest like a fool: the way to lose him," the second part of that line is delivered to someone in the audience. It really helps to make the audience feel a part of the action, without destroying the meaning of a line. Perhaps the most striking example of a speech basically turned soliloquy is that famous speech by Enobarbas, when he describes the barge and Cleopatra. This speech is delivered to the audience. On "dimpled boys," he briefly takes Agrippa's hand, but continues to address the audience. Connor Bowen does a phenomenal job with this speech. On "I saw her once/Hop forty paces through the public street," we can clearly hear and see his own admiration for her. The production features a strong ensemble, but Connor Bowen's performance is one that stands out. Another that stands out is that by Angelina Green. She is especially good in the scene where the Messenger has come to reveal the unwelcome news that Antony is married to Octavia. Her delivery of "I do not like 'but yet'" is particularly delightful. Her performance makes that scene especially memorable. And Dominic Ryan Gabriel delivers an excellent performance as Antony. He is exceptional on "you were my conqueror," sinking to his knees, drawing Cleopatra to him.

Though this production uses neither armor nor sword, both are still mentioned, as when Antony demands his armor or Eros (Alan Bornemann) says, "My sword is drawn." In that latter moment, his hands remain at his sides. He does not indicate that he uses his sword to kill himself, except through Shakespeare's words. Likewise, there is no asp, so it feels as if Cleopatra wills her own death. By the way, as you likely concluded, in this production, Cleopatra is not far enough above Antony for it to be necessary to have him lifted, as in the text. Instead, Antony is helped by two men to the platform. After his death, each of the characters takes a candle from its place on the wall and places it in a row on the chest in silent tribute, a touching moment. Cleopatra had the first line in this production, and it is Charmian who has the last. Caesar's final speech is cut, so it is the women who begin and conclude the performance, giving us a different sense of where the power lies.

This production of Antony And Cleopatra is directed by Christian Lee Navarro. It runs through March 22, 2026. Visit the company's website for the complete schedule. Helen Borgers Theatre is located at 4250 Atlantic Ave. in Long Beach, California.