Here’s the idea. Let’s follow the stratospheric success of Broadway’s Hamilton and tell a story using contemporary music, including rap, about a famous historical figure smack dab in the middle of politics, war and tumultuous personal relationships. Let’s model Cleopatra, the original queen of the Nile, after a contemporary one, Beyoncé. Let’s capitalize on the omnipresent juggernaut that is RuPaul’s Drag Race and add another queen as Mistress of Ceremonies to bring some downtown cred (and more fans). Create a basement club space containing a runway, a throne and a bar. Add a DJ to the mix to warm up the preshow crowd with big, catchy hits. Grab a cocktail, sit or stand (depending on your budget), and let big fun wash all over you.
Inside Cleopatra’s palace, invited guests and her entourage are lavishly indulged, celebrating the Queen’s recent successes against Rome. Outside the city walls, however, lurk the alluring Marc Antony and the nefarious Octavian. Royal intrigue must certainly follow. Dusty Ray Bottoms, a recent contestant on RuPaul’s Drag Race, confidently leads this journey with big heels and bigger hair though this is not a drag show at all. Cleopatra is an original musical written by Jeff Daye and Laura Kleinbaum. There are a wide range of influences in this score which effectively fuse multiple styles. Club beats meet contemporary Broadway pop/rock and big radio hits to create familiar-sounding and entertaining songs.
Adding to the tuneful score is energetic, bouncy choreography with a whiff of Egyptian realness thrown in once in a while. (By realness, I mean of the “Walk Like an Egyptian” variety.) The entire creative team has put together a solidly designed environment which admittedly seemed a little underwhelming when I arrived. After viewing the production, however, the action is truly all on stage from this committed ensemble. Cleopatra is a party so grab a drink and let the entertainment begin.
With a lovely voice able to cover many genres, Nya plays the queen. She’s a contemporary of Beyoncé both in concept and in execution. Her eyes convey her innermost thoughts. As Marc Antony, Christian Brailsford was a fine match, filled with smoldering intensity. The history books note that Cleopatra bore three of his children. Here they are simply drawn to each other like moths to a flame. Danger is lurking and power needs to be consolidated. This version is a much steamier coupling that the Elizabeth Taylor and Richard Burton film from 1963.
Like any good party, audience participation is encouraged (but happily not demanded). These sections of the show are smile inducing, appropriately quick and silly, leading to eruptions of support from the revelers. If you can, sit in the first row. Some of the action will literally take place within a foot of your face. Also, there will be no sightline issues. All of the ebullient dancing and kinetic staging by director and choreographer JT Horenstein will be more easily seen as the platform is only a foot or so off the ground.
As a musical and as an experience, Cleopatra kicks asp.