Caesarian section

Benedict Andrews’ production of Julius Caesar is a modern take on this classic tragic tale of the perennial themes of politics and power. Being a modern adaptation, one might say even post-modern, this production will not be to everyone’s taste. But the purity and beauty of Shakespeare’s words are timeless and in the hands of Andrews’ talented cast, they are as moving and haunting as ever.

There are so many quotes from this play that have been incorporated into popular culture, including “Friends, Romans, countrymen, lend me your ears”, “the unkindest cut”, “Cry Havoc and let loose the dogs of war”, “et tu Brutus?” and “it’s all Greek to me”. But why produce Julius Caesar now, apart from the fact that it’s part of the HSC curriculum?

In the program Andrews reveals he was inspired by the “appalling theatre of ‘live’ press conferences” that emerged from coverage of George Bush’s invasion of Iraq. In the press release for the play, Andrews states his aim is to “explore a ritual cycle of sacrifice in a world where the membrane between the rational and the occult has become threadbare.” Andrews succeeds in this aim, although the influence of what inspired him in the first place is not clearly conveyed in the play.

Staging Julius Caesar is always a colossal undertaking. It’s wordy, lengthy and densely packed with meaning and themes. On one level it is a play about politics. On another it is about what Andrews in the program refers to as “the unnameable behind the mask of rhetoric” – the madness and self-deception, the public rhetoric and spin doctoring, whether motivated by envy and greed or altruistic patriotism. In exploring these themes, Andrews has been entirely successful with his production of Julius Caesar. Through the clever use of lighting, music and props, Andrews creates the kind of tension and suspense that horror films seek to deliver using all that modern technology has to offer.

The way Andrews goes about exploring these themes, however, is sometimes confusing and apparently gratuitous. There are clowns, Caesar wears flannelette pyjamas, in various crowd scenes people wear masks, the character Lucius is kitted out in gym gear and in one scene there is a camouflage-clad character in a gas mask. However, these devices actually facilitate the interpretation of the Bard’s work, because their use makes the audience anxious and uneasy. Shakespeare’s prose is of course the main conduit through which this is achieved, but so too is the method of its delivery. If you’re looking for a theatrical experience that emotionally and viscerally connects you to the material, then this is it.

There were moments of truly inspired interpretation. For example, the use of a microphone from which to broadcast the key speeches of various characters is a masterstroke, amplifying as it does the characters’ anxieties and burgeoning madness, creating a palpable, physically constricting tension. The use of light bulbs to convey souls of the dead and the suit-clad cadre of assassins and Caesar’s toga-wearing supporters help delineate the conflict. In the murder scene, Caesar is parodied to great effect with the use of light and, of all things, a swivel chair. The death scene is bloodily staged to great effect.

It would be easy to dismiss the STC’s production of Julius Caesar as one that is less than the sum of its parts. But everything that happens incites in the audience what the characters should be feeling – the sense that the stressors in play are about to unleash something so horrible as to be earth shattering. To manifest that on stage and have your audience internalise it, is quite an accomplishment. Maybe you have to be sado-masochistic to go there, but there’s no denying the impact of Andrews’ production of Julius Caesar.

Despite many visual distractions, Andrews’ production of Julius Caesar succeeds in all its ambitions – partly because of the unsurpassed genius of Shakespeare and partly because the actors who play the main characters are quite simply brilliant. If for no other reason than this, STC’s production is a must see. But be warned – it requires a 3-hour commitment on your part (including interval). Definitely not for the faint of heart.

Philippa Wherrett

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Julius Caesar

Company: Sydney Theatre Company
Venue: Wharf 1, Sydney Theatre
Dates: June 28 - August 14, 2005