In 1601 he published Robert Chester's Love's Martyr, the volume that contained The Phoenix and the Turtle; he entered both Antony and Cleopatra and Pericles, Prince of Tyre in the Stationers' Register in 1608, though he published neither.
Eiros and Charmion are named after Cleopatra's attendants, Iras and Charmion (or Charmian); they are mentioned by the Roman historian Plutarch in his biography of Mark Antony (in his work Parallel Lives); they appear in Shakespeare's play Antony and Cleopatra, and John Dryden's play about Antony and Cleopatra, All for Love.
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Other theatre credits include the title role in "Macbeth" at the Southwark Playhouse, Laertes in "Hamlet" at the Young Vic, Veit Kunz in "Franziska" at the Gate Theatre, Oberon in "A Midsummer Night's Dream" for the City of London Festival, Maecenas in "Antony and Cleopatra" at the Haymarket Theatre.
George has also directed many plays including Antony and Cleopatra and A Man For All Seasons, Richard III, Autumn Crocus, The Merchant of Venice, The Chairs and The Persians, The Boy Friend and The Heiress and The Stirrings in Sheffield on Saturday Night.
On 27 December 1906, Beerbohm Tree's extravagant revival of Antony and Cleopatra opened at His Majesty's Theatre, with Tree as Mark Antony and Constance Collier as Cleopatra, a performance for which she received much critical praise.
After graduation, she appeared as Octavia in Antony and Cleopatra at Marin Shakespeare Festival, in productions of Twelfth Night (Viola), King Lear, Richard III (Jane Shore), and A Midsummer Night's Dream (Mustardseed) at California Shakespeare Festival.
On September 16, 1966 he appeared as the Sentinel in the world premiere of Samuel Barber's Antony and Cleopatra for the opening of the new Metropolitan Opera House with Leontyne Price as Cleopatra and Justino Díaz as Anthony.
A good example is the line spoken by Cleopatra in act five of Antony and Cleopatra (1607), when she contemplates her humiliation in Rome at the hands of Octavius Caesar; she imagines mocking theatrical renditions of her own story: "And I shall see some squeaking Cleopatra boy my greatness in the posture of a whore" (5.2.215-217).
Roman Tragedies (Dutch: Romeinse Tragedies) is a 6-hour stage adaptation of William Shakespeare's plays Coriolanus, Julius Caesar, and Antony and Cleopatra, created in 2007 by Toneelgroep Amsterdam, the theatre company of Amsterdam.
The common passages appear to be best explained as the type of borrowings sometimes found in works of the era (the borrowings from Thomas North's translation of Plutarch's Parallel Lives in Shakespeare's Antony and Cleopatra, for example) that have no bearing on questions of authorship.
The well-known Victorian critique of Cleopatra's behaviour as exemplified in Sarah Bernhardt's performance in Antony and Cleopatra: "How different, how very different, from the home life of our own dear Queen!".
In 1999, he acted in Shakespeare's play Antony and Cleopatra at the Bankside Globe Theatre in London with Paul Shelley; Mark Rylance (Cleopatra); John McEnery; Danny Sapani (Charmian); Mark Lewis Jones; and Toby Cockerell (Octavia) in the cast.
Horace mentions Caecuban often in connection with celebrating particularly momentous occasions, such as Octavian’s defeat of Antony and Cleopatra.
For the finale of the festivities, the whole city was summoned to the Gymnasium of Alexandria, where Antony and Cleopatra, dressed as Dionysus-Osiris and Isis-Aphrodite, sat on golden thrones.
In early 2010, Dutton purchased Headley's debut novel Queen of Kings, which explores "the transcendent powers of love even beyond death, entwining the true story of Antony and Cleopatra and Rome's invasion of Alexandria with a narrative in which the Queen of Egypt sacrifices her soul to save her fallen husband and in return is transformed into an immortal goddess bent on the destruction of the Roman Empire".
Gebert made his stage debut in Reg Livermore's musical Big Sister in 1990, and has appeared at the Sydney Theatre Company in Trackers of Oxyrhinicus, Antony and Cleopatra, Lost in Yonkers, Galileo and Blackrock.
According to the study by Peter Milward, King Lear, Antony and Cleopatra, Hamlet, Richard III, Henry VIII all include detailed Apocalypse allegories.