Review: Julius Caesar is a bloody masterpiece at Shakespeare Dallas! Sept 11- Oct 13

T.A. Taylor as Julius Caesar | Photo Credit: Grown Media

Julius Caesar

by William Shakespeare

Directed by Katie Ibrahim

Produced by Shakespeare Dallas

Audience rating: PG-13

Running Time: 2.5 hours (15-minute intermission)

Accessible Seating: Yes

Hearing Devices: Not available

Sensory Friendly Showing: Not available

ASL Showing: Not available 

Sound Level: Comfortable

Noises or Visuals to Prepare for: depictions of fighting, theatrical blood, homicide and suicide

Reviewed by Stacey Simpson Calvert

“Friends, Romans, countrymen, lend me your ears;
I come to bury Caesar, not to praise him.
The evil that men do lives after them;
The good is oft interred with their bones;
So let it be with Caesar.”

- Antony, Julius Caesar

Shakespeare's bloody political tragedy was first performed in 1599, yet as is often true with the Bard’s work, its themes are still extremely relevant today. Director Katie Ibrahim's vision of the play as produced by Shakespeare Dallas subtly but effectively draws parallels to today's political landscape, with Roman citizens squabbling over whose candidate can be trusted, some fearing that Julius Caesar's ego-driven power trip is a direct threat to democracy. Thus is hatched a murderous plan to take Caesar out of the picture, plotted by his closest lieutenants and friends as well as his opponents. These actions then, tragically, lead to civil war in Rome as well as the violent deaths of several key characters. I highly recommend if you’ve been wanting to get more Shakespeare in your life, you come out to Samuell-Grand Amphitheater and enjoy this energetic spectacle by Shakespeare Dallas. It’s bloody good!

The first half of the play explores the reasons for the characters' decisions to play a part in conspiring to assassinate Julius Caesar, culminating in a bloody, red-tinged stabbing scene. As the play opens, citizens of Rome are preparing for Caesar's triumphant entrance into the city after defeating Pompey. Brutus (a brooding,vital Caleb Mosley) fears that Caesar, who has been showing dictatorial tendencies, will crown himself king. He allows himself to be convinced by the manipulative, self-serving Cassius to join in a conspiracy to kill Caesar, ostensibly to save the republic. Cassius is played by Brandon Whitlock in an intelligent performance in which he embodies the "lean and hungry look" ascribed to him by Caesar, allowing the audience to see his questionable motivations while concealing them from Brutus. 

As one might expect from a Shakespearean tragic character, Caesar has an opportunity to prevent his own death, if only he would listen to his wife Calpurnia (the talented, expressive Elizabeth Evans), who warns him of a bloody nightmare she had that definitely portends his death if he goes to the senate that day. Or to the mysterious soothsayer who warned him, "Beware the ides of March." But Caesar allows his ego to drive his actions, spurred on by Decius (Claire Perry, in a standout performance in multiple roles), who cleverly plays on Caesar's fear of seeming weak or browbeaten by his wife and reinterprets Calpurnia's dream to convince him to go out that day, so that the murderers can carry out their plot.

In the second half, the plot explores the consequences of the assassination, its effects on the murderers, and the additional tragedies caused by their actions. Convinced (or trying to convince himself) that he has done the right thing for honorable reasons, Brutus unwisely allows Antony to speak at Caesar's funeral in front of crowds of Romans. Antony, while passive-aggressively following the restrictions Brutus places on his speech to not directly blame the conspirators for Caesar's death, cleverly manages to whip the crowd into a frenzy on behalf of Caesar nonetheless. Civil war ensues, and after much violence, including of the self-inflicted kind, the would-be revolutionaries are defeated by Antony and Octavius, and tyranny prevails. Brutus helps bring about the very fall of the republic he had hoped to prevent.

Director Ibrahim's pacing is lively and allows the soaring speeches to still move the story along. T.A Taylor in the titular role manages to be both repulsive and attractive at the same time in his egomaniacal certitude. We see his political calculation in every word as he spurns all advice and inexorably marches to his doom. Taylor's portrayal easily helps us see why Caesar inspires both loyalty and contempt. Kat Lozano, as Caesar loyalist, soaring orator, and military leader Antony, brilliantly brings out the inherent ambiguity of that character, showing us both impulsivity and cold-eyed, political cunning by turns. Also notable is Nicole Johnson as the passionate yet logical Portia, asserting that she is no mere woman and entreating the conflicted Brutus to bare his secrets to her.

The entire ensemble of actors effectively pulled the audience into the story, sometimes using the aisles of the outdoor amphitheater for entrances and crowd scenes. Just like the characters onstage, as an audience member I was veering between certainty that the assassination was a necessary evil and guilt over condoning or even accepting violence as a means of bringing about peace. 

The multi-level set by Adrian Churchill was spare but effective, especially as lit by Aaron Johansen to set the time and mood for each scene; the lighting of the battle and death scenes were especially well done. The outdoor stage was quite beautiful to look at as the sun set around it. Costume design by Jasmine Woods was modern yet subtly evocative of an earlier period, utilizing solid color dresses, tunics, shirts, sashes, and pants except for pops of colorful patterns in some of the characters' pants and Brutus' unusual red and black patterned ensemble. The actors kept the action and especially the dialogue quick and engaging as well as for the most part understandable, except for the beginnings of a few lines missed due to what appeared to be opening night mic problems. Overall, the sound design by Noah James Heller was highly effective, immersing the lawn-seated audience in a bowl of crowd noise, raucous modern music, and the clashing sounds of violence.

Shakespeare Dallas' Julius Caesar is a great evening of Theatre and a wonderful way to experience Shakespeare's work. Take your blankets, lawn chairs and picnics, bring along a bottle of wine, and enjoy this modern, energized retelling of this classic Shakespeare tale. Julius Caesar runs September 13-October 13, 2024

On with the show!

Stacey

Be sure to sign up for your spot in the Master Class: Acting for Adults, taught by Dallas Theatre Journal's Founder, Natalie Shaw at Upright Theatre Co. in Euless!