Julius Caesar

Bell Shakespeare Season 2026, Sydney - Canberra - Melbourne

The review

Staged in a laconic semi-modern set-up, where each key scene has only a few pieces marking it - a tribune as a tall ladder, or a large dark leather coach, a street cafe, an ordinary umbrella with a large writing “Cinzano” on it, or a military tent and stretchers. The back of the stage is bordered with colossal, wide, rusty-red columns, where subtitles, like hints for the time of the following events, are illuminated in a bold, large font.

The set-up with dominating straight lines reminiscents the recent movie, “Dune”, especially when growling music foreshadows shifts in the story.

The adaptation is modern, the language is easy to follow.

The production is strong, but the aftertaste is a bit mixed. Caesar (Septimus Caton) himself is not a convincing figure, not the man who just won the world. Tall, presentable, but his way of speaking reflects only the pleasure to accept his privileged position; there is no warrior eagerness there anymore.  One of the patricians, Casca (Peter Carroll @carroll_in_his_domain), describes his entity the best. Casca’s arms - Peter Carroll’s recognisable feature, without big gestures, but more moving like waves, when he talks about Caesar refusing the crown several times, pushing it away, but every time shortening the separation. Interestingly, I have watched interviews with actors after seeing the show, and it feels like Caesar was meant to be made that way. That is commendable, the personality on the stage was complete, but it did not make a good link to the degree of drama, growing in Brutus's soul.

Brigid Zengeni (@brigidzengeni) plays Brutus, who, in this work, made a woman. Brigid Zengeni is excellent,  but as I see it, it would be better to leave a gender for the character - a man played by a woman. It is not about acceptance of diversity. Here it is about the nature of the game, and this is a man’s game.  The conspiracy and the murder, no matter how thick the cover of novelty, war, and intrigues, do not have much space for femininity. Leon Ford’s Cassius is an honest, noble, and despite his role in organising the elimination of Caesar, feels positive. Each of his speeches holds the attention of the audience, but always leaves an impression of being too good. Jules Billington’s @jules_billington_on_insta Soothsayer and Portia are drawn remarkably. A creature talking from another world, giving away a prophecy, is scary and ghostly. Their Portia is sweet, loving, tactful, in her silky while draped classy into soft folds, a strong and gentle support for her Brutus. A new actress, understudy Olivia Ayoub, was taking several roles on the night I saw the show, being well noticeable.

The first act is dynamic and dense, but the core event of the murder is nearly catoornistic, even "Et tu, Brute?" sounds like a quote from “Tom and Jerry”.

The ending, the chain of monologues soaked in regret, guilt, yet with high novelty of feeling of Brutus and Cassius, is smeared by subtitles, which just announce whose death is next. It is leaving the impression of speedy page-turners to complete the play.

Though what is the gem is the famous monologue of Mark Anthony. A textbook example of rhetoric, and written centuries ago, it transforms easily to the contemporary world.  Mark Anthony is a snake-like character, a shape-shifter, a genius reader of a crowd's mood, and he is a master of manipulation. His body language, voice, and pauses are all playing for his aim. His tears and personal sorrow transitioned into a speech in a metal tone. His soft intonations are swapped by spitting out short sentences like a prosecutor. Made out of a steel frame, wrapped into an anxious mess of nerves - Mark Leonard Winter’s (the work that made me genuinely interested in this actor was “Thyeste” directed by Simon Stone), Anthony is the gem.

In 2021, @sydneytheatreco produced this play with  Geraldine Hakewill (@geraldinehakewill) playing several roles, including Mark Anthony. She made the speech differently, but the same absorbing. Such a coincidence - the same classical role remarkably played by a power couple.

This show is certainly worth watching, along with checking out material on the company’s webpage. Apart from a strong theatre, this is certainly an amazing educational hub, and it is great to see so many teenagers in the audience.

Cast

Jules Billington, Peter Carroll, Septimus Caton, Ray Chong Nee, Leon Ford, Mark Leonard, James Lugton, Ava Madon, Ruby Maishman, Brigid Zengeni

Creative team (part of it)

Peter Evans: director

Amelia Lever-Davidson: lighting design

Madeleine Picard: sound composition

Simone Romaniuk: costume design