Spring Green, WI, lies in a particularly beautiful section of the state. For 23 years, audiences have waited for the summer opening of American Players Theater, which makes its home in Spring Green. APT offers a rotating repertory of plays in its outdoor amphitheater. Most of its season typically consists of Shakespeare's plays. The two initial offerings this season consist of Antony and Cleopatra (see TotalTheater Criticopia review) and The Taming of the Shrew.
Even a critic can be easily lulled by Spring Green's idyllic setting, but this production of Antony and Cleopatra has a number of obstacles to overcome. Although many of the play's critical elements are in place, the production never becomes the "spellbinding masterwork" promised in the theater's marketing brochure. To find out why, one needs only to focus on the play's two title characters (and perhaps, in a lesser sense, Mark Antony as well).
Mark Corkins, as Antony, makes some curious choices. Under William Brown's direction, he seems far too sensitive a fellow for this legendary general. Corkins starts off on a strong note, rendering the "Let Rome in Tiber Melt" speech with great conviction. Curiously, this Antony seems to command his troops by shouting and gesturing, rather than inspiring his men as a natural leader would do. Corkins is a fine actor, and has distinguished himself in many previous productions, but as Antony, he ends up being almost wimpy, a shadow of his former self. Cleopatra, on the other hand, has her own highs and lows. Unfortunately, when Antony and Cleopatra are seen together, the two lovers don't strike much chemistry. This is a major problem when the audience is supposed to be witnessing one of the greatest love stories of all time.
Tracey Michelle Arnold, as Cleopatra, certainly looks every inch a queen. Poised and stately, she seems to glide across the set. Cleopatra's death scene is by far her best. Arnold had the audience sitting at the edge of its chairs as they witness her "kiss" by an asp. However, prior to her death, Arnold's occasionally childlike behavior seems out-of-character for a 39-year-old. As Octavius Caesar, the other part of this tragic triumvirate, Shawn Douglass hardly makes an impression. One hopes he can become a more forceful and memorable presence during the play's long run.
Supporting roles are well cast with veteran actors such as Robert Spencer, who's a delightful Lepidus, and Jonathan Smoots, who obligingly fills a number of roles. In his main part, as Pompey, Smoots successfully conveys the motivations for his actions, which is more than some of the other cast members are able to do. Smoots also handles Shakespeare's language particularly well. Among the many other actors who bring this Antony and Cleopatra to life, one must mention Brian Robert Mani as Enobarbus, and Cleopatra's handmaidens, Molly Rhode and Leah Zhang. Both women do an admirable job of staying in character during their long stretches onstage. James Ridge also stands out in his supporting role as Scarus. Production values are adequate, although costumer Kristine Knanishu deserves mention for cleverly creating lightweight versions of the soldier outfits.
