Caesar: quick links
This re-working of William Shakespeare’s most political of plays, Julius Caesar, has epic proportions – from the impressive Romanesque set with its Doric columns towering some seven metres above the outdoor stage to the special stylised world that has been created, inhabited by a cast that conveyed every nuance of text and meaning. It’s a fitting way to celebrate the 30th anniversary of Townsville’s annual Shakespeare in the Park.
Caesar: veers away from usual depictions
Simply entitled Caesar, this production veered sharply away from the usual depictions by amplifying the roles of the two key women – Caesar’s wife, Calpurnia, and Brutus’ wife, Portia – as well as creating an entirely new character, Servilia (mother of Brutus) who does not appear in the original Shakespearean script.
Writer, director and actor Terri Brabon has done her research to write a character into the play based on fact. Servilia is portrayed as the manipulative power behind the throne and becomes a crucial link to understanding Brutus and his motivations.
Caesar: true to the original but also new text added
Brabon has remained true to the original words. However, there is no discernible line between the Bard’s words and Brabon’s new text. This expansion has provided an interesting balance and accessibly human quality to a script which, despite its numerous famous speeches, could be described – and is very often played – as a dry dramatisation of historical events.
This most famous of political assassinations then becomes a story of human struggles that adversity, conflict and warfare inevitably bring. Neither Caesar not Mark Antony is the central focus. Instead, they become players in the life of Brutus. Indeed, it is often been argued that that it is Brutus – and not Caesar – who is the central hero of the Bard’s tragedy.
Despite his slight physical appearance, Harlee Timms gives a strong, nuanced and emotionally powerful performance as Brutus. We completely understand the character and appreciate his inner dilemmas as he grapples with influences in his life – respect of family, love of country and leader as he becomes entangled in a web of intrigue which challenges everything he stands for.
Brendan O’Connor is an actor of enormous range and power, and it is clear why he was cast as Mark Antony, the Roman politician and general who declares war against Brutus and his co-conspirators. He gives a dramatic understanding and creatively human approach to the character’s most famous speech, ‘Friends, Romans, countrymen, lend me your ears… ‘ This is interpreted and staged in such a creative and startling way that we can quite easily understand how he turns public opinion.
Lachlan Stevenson is perfectly cast as the villainous Cassius, the ambitious and dissatisfied instigator of the assassination. Depicted in many literary sources as the embodiment of Satan and distrusted by Caesar, Stevenson infuses the character with a simmering rage and passion, while taking full advantage of his natural height to loom over the characters and events. A powerful and memorable performance from an actor who grows significantly in every successive portrayal.
Bernie Lanigan gives a convincing take as the aging dictator perpetuo, who is susceptible to the flattery of sycophants and whose dominance over public affairs led to his assassination. There are also noticeable contributions from Hunter Sams as Octavius Caesar, John Goodson as Caska and Michael Sams as Cicero.
Caesar: amplified roles of the women
Significantly, it was the amplified roles of the women that provided a gender balance to the proceedings. Faduma Ali gives a chilling presence to the opening of the play as the Soothsayer who warns Caesar to ‘beware the Ides of March.’ Together with a trio of acolytes, this is no aged and wizened oracle but rather a wraith-like banshee whose chants are almost trance-like.
A special note should also be made of the world that was created in this production that has avoided the predictable toga-and-sandals approach. The costuming by Kathy and Terri Brabon has an almost Middle Eastern feel with its palette of reds, golds and blacks, enriched with texture and adornment.
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Brendan O’Connor’s dominant and impressive set offers an epic quality to a production matched every step of the way by Daniel Lobley’s subtle lighting design and a distinctive soundtrack that contributed ominously to the mood of the piece.
Caesar will be performed until 20 September 2025.
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