Warwickshire &amp; West Midlands

<figure class="wp-block-image size-full"><img decoding="async" loading="lazy" width="1000" height="600" src="https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/fotor_2023-4-3_19_46_13.jpg" alt="" class="wp-image-53383" srcset="https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/fotor_2023-4-3_19_46_13.jpg 1000w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/fotor_2023-4-3_19_46_13-800x480.jpg 800w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/fotor_2023-4-3_19_46_13-768x461.jpg 768w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/fotor_2023-4-3_19_46_13-875x525.jpg 875w" sizes="(max-width: 1000px) 100vw, 1000px" /><figcaption class="wp-element-caption">Photos by Marc Brenner © RSC L-r, Nigel Barrett (Julius&nbsp;Caesar) and Thalissa Teixeira (Brutus)</figcaption></figure>



Women lead the way in Atri Banerjee’s new toga-free, modern-day interpretation of Shakespeare’s overtly masculine political thriller, Julius Caesar at the RSC.



In Shakespeare&#8217;s original play, only two of the 37 characters are women – Brutus’ wife Portia and Caesar’s wife Calpurnia. The balance is firmly readdressed under Banerjee’s bold, sensitive direction and is much to be applauded. 



<figure class="wp-block-image size-full"><img decoding="async" loading="lazy" width="1000" height="600" src="https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_30_34-1.jpg" alt="" class="wp-image-53448" srcset="https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_30_34-1.jpg 1000w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_30_34-1-800x480.jpg 800w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_30_34-1-768x461.jpg 768w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_30_34-1-875x525.jpg 875w" sizes="(max-width: 1000px) 100vw, 1000px" /><figcaption class="wp-element-caption">Kelly Gough (Cassius)</figcaption></figure>



Unlike the Donmar Warehouse&#8217;s 2012 version, starring Dame Harriet Walter and Cush Jumbo, it&#8217;s not an all-female production but strikes an equal balance. Strong performances from Thalissa Teixeria, as the RSC’s first ever woman to play Brutus, and Irish actor Kelly Gough, as fiery fellow conspirator Cassius, stand out, and bring a fresh perspective to this gender-swapped production. Several other male characters are switched including Ella Dacres’ Octavius Caesar and conspirators Decius Brutus (Gina Isaac) and Caius Ligarius (Katie Erich). They are supported by a community chorus of six women from the local area.



<figure class="wp-block-image size-full"><img decoding="async" loading="lazy" width="1000" height="600" src="https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_25_59.jpg" alt="" class="wp-image-53404" srcset="https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_25_59.jpg 1000w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_25_59-800x480.jpg 800w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_25_59-768x461.jpg 768w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_25_59-875x525.jpg 875w" sizes="(max-width: 1000px) 100vw, 1000px" /><figcaption class="wp-element-caption">&nbsp;l-r Jimena Larraguivel (Calpurnia) and Nigel Barrett (Julius Caesar)</figcaption></figure>



The opening scene is arresting: frenetic choreographed dancing and elemental howling by a youthful cast. Rosanna Vize’s minimalist cinematic staging is impressive too – a revolving cube with filmic black-and-white projections on one side. Footage of grey billowing clouds, swarming birds, and dying flowers rolls behind the actors as nature seemingly anticipates the impending chaos of a country spinning out of control.



<figure class="wp-block-image size-full"><img decoding="async" loading="lazy" width="1000" height="600" src="https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_32_36-1.jpg" alt="" class="wp-image-53398" srcset="https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_32_36-1.jpg 1000w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_32_36-1-800x480.jpg 800w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_32_36-1-768x461.jpg 768w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_32_36-1-875x525.jpg 875w" sizes="(max-width: 1000px) 100vw, 1000px" /><figcaption class="wp-element-caption">&nbsp;l-r, Thalissa Teixeira (Brutus) and Nadi Kemp-Sayfi (Portia)</figcaption></figure>



Traditionalists may tut and shake their heads in disapproval at the contemporary portrayal of Banerjee’s Ancient Rome as a diverse and inclusive Capitol embracing gender, race, class and disability – and some did in our row. It&#8217;s a world where women hold as many positions of power as men; Brutus is in a same-sex marriage with Portia and the couple have a devoted deaf servant, Lucius (Jamal Ajala). Thus reflecting the young director’s own desire to connect with today’s audience.



Nigel Barrett&#8217;s &#8216;ambitious&#8217; Caesar, a jovial middle-aged leader, and the rest of the senate dress in muted smart-casual office gear; while Annabel Baldwin’s excellent all-seeing Soothsayer, who&#8217;s also voice of ‘the mob’ adds a splash of colour in red Adidas tracksuit bottoms and grey t-shirt. 



<figure class="wp-block-image size-full"><img decoding="async" loading="lazy" width="1000" height="600" src="https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/fotor_2023-4-3_19_29_47.jpg" alt="" class="wp-image-53385" srcset="https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/fotor_2023-4-3_19_29_47.jpg 1000w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/fotor_2023-4-3_19_29_47-800x480.jpg 800w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/fotor_2023-4-3_19_29_47-768x461.jpg 768w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/fotor_2023-4-3_19_29_47-875x525.jpg 875w" sizes="(max-width: 1000px) 100vw, 1000px" /><figcaption class="wp-element-caption">Annabel Baldwin (Soothsayer) and Joshua Dunn (Cinna The Poet)</figcaption></figure>



Other clever visuals include a giant digital clock counting down the seconds until the Ides of March, 44 BC, the day of Caesar’s violent murder and a two-minute PAUSE after the deed is done. Cleverly, the killers stand as if in a police line-up.



<figure class="wp-block-image size-full"><img decoding="async" loading="lazy" width="1000" height="600" src="https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/fotor_2023-4-3_19_31_12.jpg" alt="" class="wp-image-53397" srcset="https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/fotor_2023-4-3_19_31_12.jpg 1000w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/fotor_2023-4-3_19_31_12-800x480.jpg 800w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/fotor_2023-4-3_19_31_12-768x461.jpg 768w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/fotor_2023-4-3_19_31_12-875x525.jpg 875w" sizes="(max-width: 1000px) 100vw, 1000px" /><figcaption class="wp-element-caption">Nigel Barrett (Julius&nbsp;Caesar)</figcaption></figure>



Most controversially the grisliest scene of the play &#8211; Caesar’s assassination &#8211; is performed without weapons or blood leaving the leader’s yellow shirt covered in black tar-like handprints. Fight scenes are enacted through physical theatre. Each time a character dies they ooze black goo.



<figure class="wp-block-image size-full"><img decoding="async" loading="lazy" width="1000" height="600" src="https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_34_37.jpg" alt="" class="wp-image-53388" srcset="https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_34_37.jpg 1000w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_34_37-800x480.jpg 800w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_34_37-768x461.jpg 768w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_34_37-875x525.jpg 875w" sizes="(max-width: 1000px) 100vw, 1000px" /><figcaption class="wp-element-caption">Jimena Larraguivel (Calpurnia)</figcaption></figure>



So, what’s all this about? A nod to the environmental impact of oil on our planet, we discover in an interview with the director in the programme &#8211; while auditioning for Julius Caesar, Banerjee was influenced by the story of two Stop Oil activists who threw tomato soup at Van Gough’s Sunflowers in the National Gallery and glued themselves to the wall, sparking debate with their question: ‘What is worth more art, or life?’



But unless you understand the nature of this dramatic device as eco symbolism it does appear rather bizarre, obscure, humorous even – once grasped it becomes a powerful metaphor for our time, particularly as a proposed new oilfield in the North Sea is under debate.



<figure class="wp-block-image size-full"><img decoding="async" loading="lazy" width="1000" height="600" src="https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_29_1.jpg" alt="" class="wp-image-53406" srcset="https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_29_1.jpg 1000w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_29_1-800x480.jpg 800w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_29_1-768x461.jpg 768w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_29_1-875x525.jpg 875w" sizes="(max-width: 1000px) 100vw, 1000px" /><figcaption class="wp-element-caption">Kelly Gough (Cassius)</figcaption></figure>



<figure class="wp-block-image size-full"><img decoding="async" loading="lazy" width="1000" height="600" src="https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/fotor_2023-4-3_19_31_52.jpg" alt="" class="wp-image-53389" srcset="https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/fotor_2023-4-3_19_31_52.jpg 1000w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/fotor_2023-4-3_19_31_52-800x480.jpg 800w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/fotor_2023-4-3_19_31_52-768x461.jpg 768w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/fotor_2023-4-3_19_31_52-875x525.jpg 875w" sizes="(max-width: 1000px) 100vw, 1000px" /><figcaption class="wp-element-caption">Thalissa Teixeira (Brutus)</figcaption></figure>



For me, where this production excelled was in its more poignant, intimate scenes – when Nadi Kemp-Sayfi’s expressive Portia pleads with Brutus to open up to her and share her secrets; when a distraught, sleep-deprived Brutus shakes her hair down and dances to Nine Out of Ten by exiled Brazilian musician Caetano Veloso only to be joined by Caesar’s ghost; and Lucius’ heartrending tears after aiding Brutus’ suicide.



The Muddy verdict? 



<figure class="wp-block-image size-full"><img decoding="async" loading="lazy" width="1000" height="600" src="https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_26_56.jpg" alt="" class="wp-image-53405" srcset="https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_26_56.jpg 1000w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_26_56-800x480.jpg 800w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_26_56-768x461.jpg 768w, https://dev.muddystilettos.co.uk/warks/wp-content/uploads/sites/18/2023/04/Optimized-fotor_2023-4-3_19_26_56-875x525.jpg 875w" sizes="(max-width: 1000px) 100vw, 1000px" /><figcaption class="wp-element-caption">&#8216;Friends, Romans, countrymen, lend me your ears&#8230;&#8221; William Robinson (Mark Antony)</figcaption></figure>



Not one for Shakespeare purists perhaps, but there’s plenty to enjoy in this accessible, contemporary revival of Shakespeare’s politically astute tragedy. Visually stylish in parts with clear delivery and great performances all-round, particularly from Thalissa Teixeira, Kelly Gough, Matthew Bulgo as Casca and William Robinson&#8217;s Mark Antony.



Julius Caesar runs at the Royal Shakespeare Theatre, Stratford-upon-Avon until Saturday April 8. A nine-date UK tour will follow from April 20-June 24 2023, visiting The Marlowe Theatre, Canterbury; Hall for Cornwall, Truro; Alhambra, Bradford; Grand Theatre, Blackpool; Theatre Royal, Newcastle; Theatre Royal, Norwich; York Theatre Royal and The Lowry, Salford. Each theatre will feature a chorus of six women from the local community.



For tickets and further information visit <a href="https://www.rsc.org.uk/julius-caesar">https://www.rsc.org.uk/julius-caesar</a> or call 01789 331111.

Review: Julius Caesar, Royal Shakespeare Theatre, Stratford

You may also like