Review: Caesar & Antony & Cleopatra by Walking Shadow Shakespeare
by Hannah Neuhauser
We are, but countrymen - a silent audience, witnessing the faults and plights of those who are in power, wielding our lives like grains of sand underneath someone’s foot. In Walking Shadow Shakespeare Project’s latest production Caesar + Antony + Cleopatra, director Stephanie Crugnola merges Shakespeare’s political tragedies Julius Caesar (1599) and Antony and Cleopatra (1607) into a post-apocalyptic survival fantasy.
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Marc Antony (Laura D’Eramo), warrior of Rome, must choose his allegiance – his lover Queen Cleopatra of Egypt (Rachel West) or his sovereigns Octavius (Cody R. Arn) and his cousin Julius Caeser (Pablo Muñoz-Evers), emperors of Rome. On the Ides of March, Caesar is murdered in maddened assassination by Brutus (Staphanie Salama) and Cassius (Nick Ivons). Torn at the seams, Antony crumbles . . . and with him fall two of the greatest empires in ancient history.
As a college professor, I insist to my students that history is never perfectly linear It is a map of intrigue, cross-examination, and influences of surrounding ideology and cultural exchange. War may rage, splintering a country in a matter of weeks, whereas across the sea, peace may reign in blissful ignorance, burgeoning a new age of enlightenment. Director Stephanie Crugnola’s choice to place the laughter of Egyptian women and the slaughter of Roman soldiers side by side perfectly attests this political dichotomy.
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Cody R. Arn’s set design and Katie Crugnola’s costumes are absolutely brilliant in highlighting these concepts for audiences, who easily follow the nonlinear timeline. The stage is split into three sections – Egypt’s glistening mirrors in azure hues, Rome’s broken columns splattered in blood red, and the neutral outsiders huddled by a steampunk jeep, that could give Mad Max Fury Road a run for its money. Audiences sprawl on pillows or sit on foldable chairs along the periphery of the staged arena. Choose your seat wisely. Actors may attempt to pull you into their campaign, and your visibility may vary depending on where you sit (and who is sitting in front of you).
Actors do not have mics – if you are hard of hearing, I suggest sitting closer to the stage and grabbing a plot summary sheet (Spanish and English translations are provided).
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A fundamental issue many forget is that Shakespeare wrote plays. His work is worth studying as a literary form, but to truly capture the contextual spirit of his language, it must be performed. Caesar + Antony + Cleopatra runs a touch too long for my taste, shaving the last fifteen minutes could have made all the difference.
Pacing aside, I say Go see it! This innovative production is a showcase of direction and innovation, intermingling of political dramas in an immersive setting with standout performances. Rachel West is brilliant in her regal portrayal of Cleopatra and Madi Luebbers perky presentation as the conspiring Cinna was a pleasant figure of levity in the midst of Brutus’s rebellion.
On top of that - It’s ten dollars ($10)! If you’re ltempted by an affordable and accessible introduction to Shakespeare’s tragedies, look no further than this one by Walking Shadow Shakespeare Project. It’s two shows for the price of one cool adaptation!
***Tickets are on sale for Nov. 15 – 16, and Nov. 18 – 22. Please note the following dates for additional support: Open Captioning (Sunday Nov. 16) and ASL Interpretation (Friday Nov. 21).
Caesar & Antony & Cleopatra
by adapted from William Shakespeare
Walking Shadow Shakespeare
November 13 - 23, 2025
Dada Lab, Austin
