Where else could Boris reach for a historical parallel when politically carved up on the way to No.10? Here it is Shakespeare’s Julius Caesar in a riveting, memorable production, based on 2,000 year old history as interpreted 400 years ago, to provide an eternally relevant treatise upon power and its abuse.
Very little head-scratching is required to name current demagogues, bending the truth to win power on the back of the disadvantaged. Yet, to his eternal credit, director Angus Jackson leaves the politics to the text. No setting the play in a 20th dictatorship, no pretending swords are guns. The jack boots have been left in the store room, and Roman dress and architecture prevail.
Vitally dynamic Interpretation, however there is, delivered by a universally excellent cast, Shakespeare gives Julius Caesar little to do before exiting him horizontally with 23 stab wounds. His focus was, ‘The noblest Roman of them all’: Brutus, and Alex Waldmann’s superbly edgy portrayal rebalances the play.
Noble and disinterested he is, as he lends his name, ethical reputation and leadership to the assination plot. Caesar is already in control. On three offerings he has refused a crown, but a fourth might see a coronation, the temptations of absolute power and the end of the treasured republic.
This Brutus’ high purpose is not in doubt but it masks a basic naivety. And in his obsessive way he is imperious as Caesar, convinced that he is right about every political or military issue: whereas his tragedy is fatally flawed judgement.
His interaction with Martin Hutson’s worldly, envious and self-justifying Cassius is a shared master study, as Brutus is skilfully drawn into the plot, and as they argue violently before the decisive battle, only to reconcile with true feeling out of their shared ideals and depth of friendship.
As Caesar Andrew Woodall captures both the residue of huge presence and majesty, and a pompous decline into self-worship. His legendary political instincts however find superlative form in the athletic shape of James Corrigan as his follower and avenger Mark Antony.
A plain blunt man he calls himself as Brutus foolishly allows him to speak at Caesar’s funeral, coming not “to praise Caesar” but to bury Brutus, as he cunningly turns the mood of the mob towards revenge. Piers Morgan and Jeremy Kyle could take lessons in assumed humility. Yet the last word in ruthlessness comes with Jon Tarcy’s tight lipped Octavius Caesar, Antony’s ally and a chilling taste of cynical reality to come.
Women feature only slightly in a hard world dominated by male bonding. But Kristin Atherton as Calphurnia, Caesar’s doom predicting wife and Hannah Morrish as Brutus’ equally noble wife Portia, use their moments tellingly.
And the clamorous, mood changing, blood-letting mob are ever present, a warning perhaps to writers of incendiary tweets. ★★★★☆ Derek Briggs 31st March 2017
