Cleo: The Last Queen of Egypt - Fringe Review

Thomas Levi
Aug 6
2 min read

★★☆☆☆

This musical sets out to reclaim Cleopatra VII from centuries of myth, presenting her as a political strategist rather than a femme fatale. Cleo is an ambitious premise, and one underpinned by writing that frequently demonstrates remarkable intelligence, even if the storytelling never fully earns its emotional payoff.

The musical follows Cleopatra from her reluctant co-rule with her brother, through exile, alliances with Julius Caesar and Mark Antony, and ultimately to her decision to die for Egypt rather than surrender. Framed as a feminist reimagining, the production charts her determination to protect both her kingdom and her children while reclaiming the narrative history has written about her.

The lyrics are astonishingly intricate, weaving rhyme, rhythm and language together with a confidence, much like the musicals of Tim Minchin. Individual phrases sparkle with wit and intelligence, rewarding careful listening. It is rare to encounter musical theatre writing this linguistically ambitious at the Fringe, and those words deserve to be heard.

Unfortunately, the score never reaches the same standard. The compositions are attractive, drawing on sounds and instrumentation of ancient Egypt; yet atmosphere alone cannot sustain a musical. Unfortunately, the songs begin to merge together, with little variation in tempo, dynamics or musical texture. What starts as an evocative soundscape gradually becomes a wall of pleasant but indistinct noise.

For a musical determined to reclaim Cleopatra's legacy, the narrative rarely uncovers anything that feels revelatory. As a history piece, there is little here that expands understanding of one of history's most famous rulers. As a character study, you never quite fall in love with Cleopatra herself. The lyrics linger long after the curtain falls; the melodies and book disappear before you've left your seat.

The cast provides a solid foundation. Lucie Cooper gives Cleopatra both regal authority and impressive vocal assurance, while Josh Rettie's Julius Caesar establishes status through distinctive vocal motifs that immediately separate him from the surrounding characters. Zack Gardam's Mark Antony, alongside Catriona Gallagher and Jasmine Hill as Charmion and Iras, help keep the relationships clear.

Cleo feels like a musical with enormous potential rather than a finished piece. The foundations are exciting: sophisticated lyric writing, an ambitious concept and a capable cast. With a sharper book and a score that guides the storytelling rather than sitting underneath it, this could become a formidable new work. Because, in time, Cleo could truly rule the stage.