McGill Tribune

Media Credit: Matt Park When in Rome: Tyrants and assassins take the stage in togas during the Department of English Drama and Theatre Program's production of Julius Caesar. [Click to enlarge]

A tale of blind ambition, honour, and political strife, William Shakespeare's classic tragedy Julius Caesar is as relevant today as it was in the 16th century. The Department of English Drama and Theatre Program's production of Julius Caesar is currently playing at the Moyse Hall Theatre.

The play transcends its historical context, interweaving themes of morality, dirty politics, and patriotism, as well as the power of rhetoric and its influence over an acquiescent public. Julius Caesar, the absolute ruler of ancient Rome who lived from 100-44 BCE, was considered by many to be a threat to the fundamental principles of the Roman Empire and was killed for his ruthless ambition and love of power. The Machiavellian leader's friends and enemies-led by the respected Roman senator Marcus Brutus-plot and carry out his assassination in hopes of restoring the ideals of the republic, while an ensuing civil war takes over the empire. Zak Rose brings a commanding stage presence to the difficult role of Caesar, a powerful dictator who is simultaneously loved and feared. Though Caesar is by no means the main character of the play, Rose's dynamic performance still manages to steal the show. Playing Caesar's friend Mark Antony, Fraser Dickson delivers a highly impressive performance, especially during Antony's famous speech following Caesar's murder in Act Three. Beginning with the famous words, "Friends, Romans, countrymen: lend me your ears;" the power of this pivotal scene is contingent upon the delivery of Antony's speech above Caesar's corpse, and Dickson hits the mark straight-on.

Several of the performances seemed rather overacted at times, but for the most part, the acting was both convincing and impressive. The chemistry between Murteza Khan, in the role of Brutus, and Spencer Malthouse, who played Brutus's brother-in-law Cassius, deftly portrayed the paradoxical and complex relationship between the two central figures in the assassination plot. Their conflicting motivations come to the forefront, as Cassius seems to be motivated by lust for power and envy, while Brutus's intentions are more honourable-he famously states that he killed Caesar because he "loved Rome more." The four main characters of Caesar, Brutus, Cassius, and Mark Antony play off each other to great effect, carrying out Patrick Neilson's vision of creating a balance between the men's virtues and flaws.

The production is expertly directed by Patrick Neilson, who also acted as the set designer. Neilson's talent is evident in the perfectly-orchestrated battle scenes as well as the scene in which the dead Caesar's apparition appears to Brutus in his sleep, which uses impressive visual and auditory effects. The head of Caesar is projected against the back of the stage, fog mists up from the ground, and his booming voice echoes throughout the theatre, perfectly capturing Brutus's psychological struggle. The scene of Caesar's assassination in act three is equally powerful and well-executed, with a bright crimson backdrop to emphasize the blood that has needlessly and mercilessly been shed. The tension is tangible as Brutus delivers the last blow to Caesar, who in turn delivers one of the play's most famous lines, "Et tu, Brute?"

Innovative deconstruction-chic costumes enhanced the play without ever being over the top. The staging-a wooden structure placed at the centre of the stage with four sets of stairs connecting to a central platform-like the costumes, is simple yet effective, letting the acting and script take centre stage while still functioning to great effect. All costumes and sets for the production were created entirely out of recycled and repurposed materials, including old sports padding, curtains, sheets, leather scraps, and distressed jeans. A black leather miniskirt, for instance, was turned into Caesar's collar piece. The costuming reflects Neilson's vision of the tale being set in a dystopic future in which climate change and desertification has brought about socioeconomic instability. This futuristic setting really only comes across through the costumes, but it did serve to emphasize the play's timelessness and universal applicability.

Though theatre-goers should be prepared for a lengthy two-and-a-half hour performance, they can expect to see a skillful rendition of one of Shakespeare's greatest tragedies. Spend an evening at Moyse Hall to experience Julius Caesar's well-delivered performances of complex and highly nuanced characters and the play's moving treatment of the human condition.


Julius Caesar is playing March 25-28 and April 2-4 at 7:30 p.m. at the Moyse Hall Theatre, located in the Arts building.