‘Julius Caesar’ review
‘Bloody, dark, and complex […] not one to be missed.’
Shakespeare’s Julius Caesar hit the Assembly Rooms Theatre this week with an absolutely stellar opening night. Following the story of the assassination of Julius Caesar as he is murdered by his friends Brutus and Cassius and avenged by Mark Anthony, DUCT’s annual Shakespeare returns with an incredible success this March.
Directed by Cillian Knowles (assisted by Olivia Fancourt), the audience is brought to a Californian dive bar filled with threatening, leather-clad bikers (although devastatingly, no motorbike!). The directorial vision is clear from the show’s opening and executed to a great standard - the whole cast and crew should be greatly applauded for truly drawing the audience into the American setting. Although I did feel slightly jarred by the lack of any American accents, Knowles and Fancourt excel in bringing to life Shakespeare’s tragedy in a modern setting, with every creative choice evidently having been thought through.
Samuel Bentley brings Brutus to life; just, conflicted, and guilt-ridden, Bentley paints an image of a Brutus who truly wants to do right by Rome, and by the Roman people. Captivating in both moments of stillness and rage, haunted by his choices, Bentley’s Brutus is truly excellent. Emi Sharples’ Cassius is truly captivating. There is not a moment where she fails to depict the conniving dedication so crucial to Cassius’ characterisation. Impossible not to watch, Sharples is threatening and deadly at every opportunity. Dan Katsande’s Caesar exudes power. He presents a strong leader, and his death is heartbreaking to watch.
Isaac Slater’s Mark Antony is truly the heart of the play; his monologues are delivered with the perfect mixture of grief and the desire to avenge his fallen friend. Similarly, Leonie Rowe and Posy Portwood (Calpurnia and Portia respectively) deliver brilliant performances, illustrating a depth and clarity into both of their characters. Martha Buttle’s performance of Casca is wonderful – determined and cutthroat, Buttle’s final scene in particular was devastating to watch. Moreover, Olivia Fancourt stepped into the role of the Soothsayer for opening night, delivering some lighter moments to the production; her comedy is perfectly-timed and her cockiness undeniably charming.
Luca Bavasso makes a compelling Octavius, delivering a gripping performance with an awesome entrance that enforces the power behind his character. James Kent delivers a complex illustration of Lucius, both comedic at times whilst also bringing out a more innocent side to the character, particularly towards the end of the play. Gabe Cardy-Brown, Miranda Pharoah, Ben Oliver, and Tash Back (Lepidus, Cinna, Trebonius, and Cimber respectively) all deliver fantastic performances, dominating the stage and depicting clear, ruthless individuals. It is crucial to mention how smooth all of the fight scenes were, choreographed by Knowles and Pharoah – brutal and violent, the cast brought a shocking realism to these scene leaving the audience stunned.
Huge credit must also go to the Production Manager (Lucy Smith) and Assistant Production Manger (Cameron Howe), as well as the Set Designer, Sound Designer, Lighting Designer, and Stage Manager (Theo Henman, Oliver Fitzgerald, Zac Jackson, Matilda Bell respectively) - and the rest of the production team too. All aspects of production are immaculately thought out – the set in particular is so immersive and incredibly realistic. The lighting also heightens the atmosphere, especially notable during Caesar’s death scene, and excellent use of lightbulbs provides a lower, menacing vibe. The band (made up of Michaela Ashworth, Seb Powell, Ben Patten, Henry Wheatley, and Gabriel Tucker) is an excellent touch; they give a stellar performance and are vital in cementing the 70s/80s heavy metal tone of the production.
Overall, DUCT’s Julius Caesar is not one to be missed. Bloody, dark, and complex, all the creative team, cast, and crew work cohesively to perform Shakespeare’s classic tragedy in an innovative and cutthroat way that must be commended.
By Nell Hickson.