‘Cleopatra’s’ Reach Exceeds Its Grasp

Perhaps “Cleopatra, the Musical” would have fared better as the campy romp its title might suggest. Unfortunately, creators Miguel Santiago (book and lyrics) and Bronwen Jones (music) had a loftier ambition--a serious re-envisioning of the Queen of the Nile as an early feminist martyr. That goal far exceeds the implementation in this non-professional production trapped in its mid-sized, high-profile venue at the Hollywood Playhouse.

In the title role, Jill Niemela proves a talented and compelling singer, (so does Luzzie Rose Militante as her loyal handmaiden, Iras). But it’s hard to sustain a serious tone when Cleo presents herself to Caesar (Kip Driver) wrapped in an early precursor of an Ace Bandage and crooning “A Woman Always Knows What a Man Wants” to the early percussive precursors of Latin-tempo castanets.

Caesar’s subsequent assassination with an early precursor of a steak knife derails the temptress’s plans to install herself as Queen of Rome (the legal technicality that no such position exists under Roman law notwithstanding). She begins a romantic alliance with Mark Antony (Michael McNeil) in a second ill-fated power-play, and the rest is somewhat dubious history. Painfully earnest performances mean any laughs are unintentional.

* “Cleopatra, the Musical,” Hollywood Playhouse, 1445 N. Las Palmas, Hollywood. Fridays, Saturdays, 8 p.m.; Sundays, 3 and 7 p.m. Ends July 2. $25. (213) 466-1767. Running time: 2 hours, 20 minutes.