LA Review: 'Antony and Cleopatra'

A Noise Within taps into the capabilities of its well-equipped new theater facility, which opened last October, with a full-throttled staging of Shakespeare's epic historical tale of an ill-fated romance set against the turmoil of warring political forces. This sweeping story of a doomed love affair and the lust for political power is a tough nut to crack, even more daunting than some of the Bard's other classics. Bringing the three-hour opus into focus requires consummate acting talent and meticulous direction to adequately elucidate its dense plot points and myriad themes, such as the power and pitfalls of unbridled passion and the clash between personal and political concerns. Directors Geoff Elliott and Julia Rodriguez-Elliott have achieved a frequently enthralling production driven by two stellar lead performances and a viscerally exciting look and feel. Despite occasional lapses in pacing, this is an intellectually stimulating and visually appealing take on the classic tragedy.

First among the pluses are Geoff Elliott and Susan Angelo, who offer multilayered performances as the titular couple. Elliott excels as Mark Antony, a Roman political leader who allows his love for the Egyptian queen Cleopatra to compromise his professional allegiances. The actor's delivery of several impassioned speeches is engaging and articulate, and he credibly embodies the strength of will that makes Antony a formidable opponent. Angelo, as the fiery object of Antony's desire, is an unstoppable force of nature as the lusty and controlling monarch, bringing out the humor and ultimate heartbreak in the role. Angelo lucidly delineates Cleopatra's dual concerns about romantic fervor and political control, which collectively drive her to desperate measures.

Max Rosenak, as Octavius Caesar, a member of the triumvirate ruling Rome, which also includes Antony and Lepidus (a compelling William Dennis Hunt), skillfully conveys the ruthlessness of a power-hungry ruler while showing flashes of compassion. As Antony's morally conflicted subordinate and friend Enobarbus, Robertson Dean elicits strong empathy. The supporting ensemble contributes many impressive turns, and the actors who engage in the battle sequences—terrifically staged by fight choreographer Ken Merckx—display considerable physical dexterity.

The versatile scenic design by Tom Buderwitz uses a multilevel scaffold that allows for fluid and imaginative staging of the battle scenes and a plethora of locales. Buderwitz's tasteful décor, props by Renee Thompson Cash, and Angela Balogh Calin's lovely period costumes add to the production's classy sheen, which is further enhanced by Ken Booth's splendid lighting.

Presented by and at A Noise Within, 3352 E. Foothill Blvd., Pasadena. March 4–May 13. Schedule varies. (626) 356-3100 ext. 1 or www.anoisewithin.org.