Julius Caesar

This is a play replete with intriguing and complex political subterfuge and this has been effectively brought to life by this vibrant Melbourne Shakespeare Company production. The casting of this show is well considered and contributes to the overall clarity it brings to the dramatic events and the compelling psychological study that the text offers. All the performances, both large and small, prioritise the emotional turmoil of each of the characters and give great insight into the personal and political ambitions that drive their actions.

Julius Caesar (Hunter Perske) is played with appropriate aplomb and grandeur. His authoritative presence makes the shadow he casts over the other figures in the play very visible. The relationship between Marcus Brutus (Matthew Connell) and Caius Cassius (Mark Wilson) is made a great feature of this performance. Connell is subtle in his interpretation of Brutus and his disarming gentleness makes his violent tendencies all the more disturbing. Wilson takes a more bombastic approach to Cassius with an attention to his anger and aggression that could be more nuanced. Nonetheless, the trials and tribulations of their rapport are fully and often beautifully explored. Natasha Herbert as Marc Antony provides an astonishing performance. Herbert conveys the treacherous nature of the psychological and physical terrain that Antony must negotiate in order to be victorious with enormous precision. She brings all the calculation and intensity of the role to the forefront and portrays Antony with a resolve and quiet determination that makes the outcome of the play clearly inevitable.  

The set design makes good use of the space to create a grand and monumental era. The contemporary setting captures the militaristic and bloodthirsty ethos that governs the play in a simple but imaginative manner. The equestrian costuming is a perfect context for the themes of blood lust and sits well against the steely atmosphere of the set. The sound and music choices are extremely appropriate but could be more seamless in their integration with the speeches. The scenes of death and destruction are executed with striking sound and lighting effects. This renders the violence visceral and explicit while maintaining its clinical intent. The staging always brings the action and the emotions in direct confrontation with the audience who are easily drawn into the dynamics of the action. Melbourne Shakespeare Company provides an accomplished and rare opportunity to delve into many of the fascinating aspects of this captivating play.

Patricia Di Risio 

Photographer: Chelsea Neate