Tonight, this very eve, until Friday’s final performance you can witness William Shakespeare’s Antony & Cleopatra: A Dream of Passion at London’s The Divine. Using Shakespeare’s original wording, this new production is directed and adapted by Robert Chevara. Now taking place inside Berlin’s mythical Berhain club and staged to a thumping techno beat, this latest incarnation stars provocateur Jonny Woo as Cleopatra who is joined by William McGeough, Alexis Gregory and Jonathan Blake.

Loverboy caught up with Jonny Woo to find out more about this epic new look at a classic…

This version of the classic story is set in Berlin’s Berghain. Tell us how this came to be the location?
The concept of the show came from Robert, the show’s director. He knew of people who literally lived for the nightclubs; who pushed their bodies to the brink for the sake of being in clubs. A club such as Berghain is the apex of this type of clubbing experience in that you can go in Friday and come out Monday afternoon. With the drugs, the exhaustion, the exhilaration, you can go through a whole spectrum of emotions; the experience is heightened, poetic, ecstatic, desperate and drenched in ego and paranoias. In short, it can get very Shakespearean. In Antony and Cleopatra; A Dream of Passion, Robert’s edit allows the characters to explore all these emotions. It’s all in the script. And it’s a ‘dream of passion’; it feels both real and immediate and surreal and imagined all at once.

This production sounds like it is a full-on singing, dancing, karaoke-ing extravaganza. How much improv is involved in a show like this?
There is no improvisation in this show. We follow the text to the word. We are presenting Shakespeare as it should be spoken. The music breaks add variety and comment on the action and whilst in a song there is variation in performance, the differences each night may be quite nuanced; as with the text, some nights you find a new tone for a line or a scene but we are always working very much with what has been rehearsed. The text has depth so an audience member can find new meaning each night.

Do you have a preference between improv or something scripted? What’s your relationship with the two?
Improv can feel very dangerous and is nerve wracking sometimes. For example hosting a show is often without script and the success may depend on my mood, the audience’s mood, the content of other acts. When it works it’s great, when it doesn’t live up to expectation it’s frustrating. Working with a script really is the repetition of what has been learned and rehearsed and there is a different thrill in performing; there is a channelling of a characters’ emotion; there is a satisfaction on using the tools of performance training and when that works and all come together it’s like flying.

This production began life at The Glory and is now being presented at your new venue The Divine. How do the two differ and what kind of energy do you think The Divine will bring out of the show that perhaps would not have happened at The Glory?
The new version has had scenes added, music changed and we’ve had more time to work on the material. It feels more complete in a way and audiences are really engaging with the story. Especially newcomers to Shakespeare who may feel intimidated by a 3 hour show at The Globe. The Divine gives a more club feel for sure; as it is a club on weekend with the sound and lighting possibilities much greater. Both shows had a certain intensity, as they are both small spaces. I think the layout of The Divine really focuses the action; the stage is bigger and whilst in a club also affords a clear theatrical experience. We know that it’s a thrilling, intense ride from audience reactions so far.

There have been many famous Cleopatras over the years, Glenda Jackson, Elizabeth Taylor, my favourite Amanda Barrie. Which performances have you looked to for inspiration and what characteristics did you appreciate in them?
You know what, I found my own. We are not trying to re-create or emulate previous versions as I’m a gay man; as Cleopatra. We are not pretending I’m a woman. I possess both the feminine and the masculine. If I tried to emulate or use others as a basis for performance I think it could slide into parody. Of course I’m sure I’ll do a version someday where I fall out of a carpet like Ms Barrie herself, or emerge from a milky bath: the late night club version maybe, or NYC Downlow version!

Last time we spoke it was about Sex/Crime with Alexis & Robert again. Tell us about the dynamic between the three of you and what makes it unique.
It’s great to build up a working relationship. To have a working vocabulary. To understand what a director requires, it makes moving the work forwards much more efficient. I always love that Robert gets a text up and moving straight away rather than labouring over lines round a table. It’s through action that we find meaning and Robert is a literal encyclopedia when it comes to Shakespearean, Roman and Egyptian history. I always love working with Alexis too. It’s great to have a buddy onstage, especially as this is the kind of relationship our characters have. At the start of the show we are two clubbers kiki’ing and gossiping; it’s really not far from reality in that respect.

Also last time we spoke you mentioned wanting to play Iago in Othello. It seems you’ve taken a side step to Cleopatra…? Is Iago still on the cards? Who is your favourite Shakespeare character and why?
Oh Iago is definitely on the cards. He has THE BEST soliloquies and what a devilish, complicated character to play. I love Othello; that really has a good clear story of jealousy, deceit, passion and power play…and is one of the shorter ones. Let’s say conversations are being had. It might take a while so don’t hold your breath just yet but I’m still game. Shakespeare’s women are of course always attractive to me; Gertrude in Hamlet or Lady Macbeth and who doesn’t want to be one of those three witches? Hubble bubble and all that.

Finally we are named after the biggest-selling single of 2001 so our last question is usually Mariah-related. However last time you dared mention you were not a fan! Haha…so, who is your favourite female icon and what is their #1 moment for you?
Hahaha, well remembered. Margot from The Good Life (Penelope Keith) didn’t have any songs as far as I know, but her style definitely sang to me. I’d have to re-watch some golden oldies to get some one-liners. Other than that Liza will forever have my heart. Come on! Ring Them Bells!

Antony & Cleopatra: A Dream of Passion is on now at The Divine until 27th September.
www.thedivine.co.uk