BATS Stage is spectacular as we walk in. A huge oval bed is centre stage, seemingly coiled around by a snake whose head rises above and over it from behind. It makes quite the statement. Egypt and Rome are both stylistically represented in the set design. Sam Hearp’s strong, dramatic design is an excellent balance for the action to come.

Kudos also to lighting team of designer Teddy O’Neill and operator Jenaya Peterson for enhancing the set and action with subtlety and dramatic intent.

This show takes Shakespeare’s play Antony and Cleopatra and sets out to tell the her-story of Antony’s three wives: Fulvia (Zoe Harris), Octavia (Lillyana Steffert-Ferrarini) and Cleopatra (Ezra Jones-Moki).

I’m fairly certain Fulvia is only ever name-dropped in Shakespeare’s play, and is reported dead fairly early on. Thus free rein is given to portray her in any way, and Harris’ Fulvia becomes a narrative device, playing different characters that influence or even manipulate the direction of the story. Harris does a great job of using physicality to clearly delineate these characters. She ranges from sinister to hilarious with ease.

Next we meet Ezra Jones-Moki’s Cleopatra whose regal bearing enhanced in black and gold gown, jewellery and makeup looks every bit the part. They are capricious and arch, indulged and regal all at once. Big credit to costume designer Sophie Helm not just for this costume but all of them.

Octavia is sweet and vulnerable in a white chiton and flowing red hair, satirically introduced as a chattel for bargaining.

The cast is rounded out by Marc Antony (Aishani Pole) and Octavius (Olivia Bissett). For a her-story, these two dude characters get a surprising amount of plot-carrying stage time and action that would have been off stage in the original.

Overall it is an energetic romp with laughs, frights and some sad bits. Chenae Phillips and Rosie Mazur reshaped and added to Shakespeare’s words, and have put a lot of thought into it. I would like to see the idea go much further, with the three queens being more rounded characters in their own rights – the reduction of women’s humanity to chattels of men is bitingly demonstrated in the play and these parts really land. But we never hear about the other things that might concern the characters: children, pastimes, politics – knock the Bechdel test out of the park.

However, the end is satisfying in bringing the wives together in a way that Shakespeare never would. It is the perfect note on which to finish.

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