CAST OF CHARACTERS AND AUDITION PIECES

We have provided rough outlines of all characters in this production below. In this cut of the play the director has combined a number of parts into one ‘named’ character, in order to both simplify and allow for one consistent character arc to be present from the beginning to the end of the play. These combinations are indicated below where relevant. This should give you an idea of what the part involves should you wish to consult an edition of the play for reference!

The playing ages of the characters are flexible; the Director will pull together the final cast from those who attend auditions so that the age relationships of the characters make sense for the play.

You can find audition pieces for female and male characters here. We will also have additional pieces for two/three characters at each audition. You can choose to read from any of the pieces provided here, regardless of which part(s) you audition for.

Mark Antony
A faded General past of just over his pride. A dynamic personality and natural leader, who has an easy bond with his men. He is drawn towards the exoticism and romanticism of Egypt, probably due to his adrenalin fuelled career as a soldier. Despite his success, Antony perhaps also embodies the ‘Peter Principle’ – his elevation has been dependent on his success as a solider, but the skills that have got him to that role are now no longer relevant his position as statesman and political leader, and he is unsuited to the role.

Cleopatra
One of Shakespeare’s most complex female roles, Cleopatra is a mass of contradictions, moving from calm and calculating to emotional and impulsive. Throughout the play there is a constant question as to her sincerity in terms of her affection to Antony and her loyalty to his cause. Despite this she is capable of creating great loyalty in her followers and Antony finds her totally captivating – feelings that Cleopatra is willing to manipulate. But, whilst being calculating, she is also striking in her lack of political motives, and seems driven more by a desire to be adored by Antony than to use him as a puppet to control the Empire.

Octavius
Everything that Antony is not and nothing that Antony is. Octavius has all the political ability and ruthless ambition that Antony lacks. Rather than bonds of loyalty his people are tied to him through joint ambition and have been selected for their usefulness. Octavius is willing to manipulate situations and those round him. Unlike almost all the other characters in the play Octavius has a goal and all his actions are designed to lead to that goal. Cynical and cold, he expresses warmth for his sister, but is not above using her as both a political tool and a pretext for war.

Enobarbus
Antony’s cycnical second in command and confidante, in many ways he serves as the audience’s eyes-and-ears and features in several scenes where he offers a wry commentary and asides on the actions of the leads. A man famed for his honesty and nobility he is held in high esteem for his “Roman values”. However, he is rarely listened to by others and holds little influence even over Antony.

Charmian and Iras
Loyal handmaids to Cleopatra and companions to her. These two women are fiercely loyal and care deeply for her, and act her both messengers and heads of household. Charmian seems the closer to Cleopatra, and may have been a long term companion or even a nurse. Iras is younger and more naïve and, like Eros, ‘sets the tone’ for Cleopatra by taking the option of suicide.

These characters also combine the following characters from the script: Alexas, Mardian, Sereclus and Clown. The speaking parts have also been divided more equally between these two characters.

Eros
A young soldier of Antony’s and a close servant, who uses him to send messages – in particular to Cleopatra. Young, naïve and impressionable he ties himself strongly to both Antony and Cleopatra. When he first see him he is sad to see Antony’s degradation but by the end of the play has been so sucked into the charisma of the general that he kills himself rather than assist Antony’s suicide.

This character combines the following: All messengers to Antony and Cleopatra and Demetrius.

Octavia
Octavius’ sister, and much admired in Rome for her nobility and good character. Sadly, she is a pawn in Octavius’ political games – although she is fuly aware of the political nature of her marriage to Antony, she seems less aware until too late that the marriage has been put together entirely because it can then be broken, giving Octavius his pretext for war. A sympathetic character, who shares similar traits to Cleopatra – strong minded but lacking a certain level of character to make her truly independent.

Pompey
Vain, self glorious and in the end weak and indecisive, Pompey is similar to Antony, lacking the strength of will and intelligence that Octavius possess and unwilling to use ‘any means necessary’ to win power.

Lepidus
An important statesman of Rome but very much an unequal partner, whose efforts are focused on keeping the peace between the others. A noble man and possibly even a good administrator, he is out of his depth with the more ambitious and charismatic men around him. Frequently the butt of the jokes from the other characters.

Canidius
Antony’s key general but far more doubting and uncertain than others. He begins the play expressing distaste at Antony’s conduct and this attitude does not shift during the campaign.

This character also combines with Philo.

Menas
Pompey’s number two and far more suited to the number one role than Pompey. He is possibly the second most ruthless character in the play and has the determination to succeed at all costs that Octavius also possess. Sadly, unlike him, he cannot win people to his point of view and is frequently ignored and pushed aside by his less competent commander.

This character combines Menecrates and Varrus.

Mecaenas and Agrippa
Octavius two key lieutenants. Mecaenas is the political mind and the manipulator, Agrippa the blunter military man. Both men’s skills are used to the uttermost by Octavius and are given their moments to shine, either conducting a campaign or attempting to manipulate Cleopatra.

These characters combine with Taurus, parts of Dolabella, Proculieus

Scarus
Another soldier of Antony’s. Brave but seemingly tied more to Antony by duty than loyalty. Saddened by Antony’s death he nevertheless shifts allegiance to Octavius on Antony’s death.

This character combines with Dercetas and Diomedes

Thyreus
A smooth talking deputy of Octavius, he is sent to win over Cleopatra but develops a genuine affection for her, warning her from the danger that Octavius presents and secretly advising her not to allow herself to be taken alive.

This character combines with parts of Dolabella (final scene).

Soothsayer
A mysterious figure throughout the first half of the play, the soothsayer gives prescient warnings of events to come to Antony, Charmian and Iras. Like all good advice in the play she is roundly ignored by those she talks to or her words or misinterpreted.

AUDITION PIECES
Male monologue 1
Male monologue 2
Male monologue 3
Female monologue 1
Female monologue 2
Female monologue 3