I must say, All Roads Lead To Rome is an appropriate title. If, that is, Rome has recently become a synonym for bed.
Erotically charged from start to finish, this combination of Romeo and Juliet and Antony and Cleopatra is an interesting take on Shakespeare’s classic romances. Fused together into one piece, All Roads Lead To Rome focuses upon the intricacies of the relationships at the heart of each play.
The potential of the concept was revealed at the end of the preview, when we were subject to an intense realisation of the last day in the lives of the two pairs of lovers. The simultaneously occuring images of Cleopatra tenderly dressing Antony for battle and Juliet’s pleading speech – ‘It was the nightingale and not the lark’ – was exceptionally beautiful and built to a conclusion laden with pathos.
Such effective use of montage was undermined, however, by the lack of chemistry between Alex Bowles’ Antony and Ellen Buddle’s Cleopatra.
Supposed to be a passionate love affair reflective of the towering stature of both leaders, Buddle’s Cleopatra was less a powerful feminist queen than a nervous housewife, whilst the relationship seemed insipid and forced. Bowles was visibly uncomfortable touching Buddle’s body, his hips hovering several centrimetres away from hers.
Quite the opposite approach was taken by Matt Maltby and Charlotte Norris’ Romeo and Juliet, whose performances were effective renditions that oozed with sexual tension. Romeo’s infamous line – ‘Wilt thou leave me so unsatisfied?’ – is suddenly more understandable when we have witnessed the passionate panting which seems to be Norris’ definitive character motif.
The balcony scene, that endearing moment of innocent young love, has become, in the directorial grasp of Will Maynard, practically soft porn. Indeed, his ‘vision‘ was decidedly nebulous, the only consistent aim being, it seemed, to fill the room with as many pheromones as was humanly possible.
I am, however, being pedantic. On reflection, the play was pleasing, innovative and enagaging. Despite having been rehearsing for only a week and a half whilst suffering from Fresher’s Flu, the cast were tight on lines, metre, and expression.
Special mention must undoubtedly go to Bowles, who gave a passionate and truly mesmerising performance as the leader torn apart by the inadvertent sacrifice of his own men.
I struggled with deciding what rating to give this show. Pushing the boundaries can be exhilarating, but injecting this most adored of romances with a good dose of eroticism is something of a risk. With a little more thought and lot more Lemsip, though, it could prove to be one which pays off.
3 stars
