Roman Tragedies, and: Coriolanus, and: Julius Caesar, and: Antony and Cleopatra (review)

Toneelgroep Amsterdam’s Roman Tragedies, part of the Barbican International Theatre Events (BITE) 2009 season, was a provocative, ambitious production conflating and reimagining Shakespeare’s Coriolanus, Julius Caesar, and Antony and Cleopatra to create a chronicle of emerging populist Roman rule which traced public and private forms of ambition and power. Premiering in Amsterdam in 2007 and staged a year later at the 2008 Avignon Festival, the London staging of the play was the Dutch company’s Barbican debut and its first production in London after a ten-year absence. The smart set-design, modern-dress costuming, and brilliant music complimented superb ensemble acting and a carefully crafted script to produce a deftly layered, visually stimulating study that vitalized the historical past by depicting, somewhat chaotically, political clashes of the present. Running time was approximately five-and-a-half hours with brief scene changes of three to ten minutes in lieu of an intermission. Actors delivered dialogue in Dutch.

Chris Nietvelt as Cleopatra and Hans Kesting as Antony (above), with (from left to right) Eelco Smits as Ventidius, Chris Nietvelt as Cleopatra, Marieke Heebink as Charmian, Jacob Derwig as Thidias, Hans Kesting as Antony, Janni Goslinga as Diomedes, Frieda Pittoors as Iras, Alwin Pulinckx as Dolabella, Barry Atsma as Enobarbus, Fedja van Huêt as Agrippa, and Hadewych Minis as Octavius Caesar (below) in Toneelgroep Amsterdam’s production of Antony and Cleopatra, directed by Ivo van Hove. Photo courtesy of Jan Versweyveld.

A sleek, visually impressive contemporary set design used the entire Barbican stage to create an open-plan modern conference center. The audience was invited to watch the action on the stage amongst barrel-shaded accent lights, mushroom-colored modular sofas and stuffed chairs, coffee tables, and office planters. Numerous plasma-screen televisions delivered live and recorded images. Additional common areas were located to the far sides of the set, including makeup and first aid stations, a Toneelgroep Amsterdam information area, and a bar and café serving London Pride and Pad Thai, among other fare. A space was also dedicated to a computer that was connected to a red LED display that ran English surtitles underneath the screen above the proscenium. The audience was invited to type messages that were then transmitted to the display, which meant that a good amount of jocular commentary was delivered when the surtitles were not running. Such messages, often distracting and gratuitous, included the following: “Apparently all Dutch men are gorgeous. I’m moving to Amsterdam” and “Take off your shirt Aufidius.”

Fedja van Huêt as Coriolanus (above), with (from left to right) Marieke Heebink as First Senator, Renée Fokker as Tribune of the People, Barry Atsma as Aufidius, and Jacob Derwig as Cominius (below) in Toneelgroep Amsterdam’s production of Coriolanus, directed by Ivo van Hove. Photo courtesy of Jan Versweyveld.

The production favored the use of technology and media over the presentation...