"I love everything about working with Tony. Everything about it. He’s such a legend and because of that I get to learn so much when we sing together."
“She is all of us, all women,” Best says. “An archetype in essence — you know, all women somehow feel, ‘That’s us.’ She’s the queen, she’s the lover, she’s the whore, she’s the mother, she’s the playful child.” She also calls her “pure love”. This is all well and good, but some have suggested that Cleopatra is also a caricatural mash-up of exaggerated feminine traits — a field day for misogynists — while others hate how she is always exoticised, always the Other. Best seems unaware of this. “Really? That’s interesting.” But then she warms to the idea of people wanting to define Cleopatra, and so constrain her.
“This fear of the wildness of the untamed woman is frightening,” she decides. “The logic, the extension of that, is women having to wear veils, because men are so frightened of their sexuality. And a woman as untamed as Cleopatra is somehow a threat and must be controlled, and is suspect.” [x]