Writer: William Shakespeare
Director: Anna Coombs
“It must be by his death.” Anna Coombs’s fast-paced production of an African-inspired Julius Caesar aims to tackle political struggles, betrayals, complete with a heavy dose of chaos, in a remarkable adaptation.
The Tangle Theatre Company was founded to honour and shed light on African and Caribbean artistic narratives to transform classic theatre. This adaptation of Julius Caesar by Coombs, with original music by John Pfumojena, creates an interesting narrative of an African-inspired ancient Rome. Pfumojena’s music is subtle, never overtaking the narrative, instead, supporting and heightening emotions on stage. The music fits perfectly with Colin Falconer’s set and costume designs. These aspects support the actors, who truly become their characters on stage.
This slimmed-down production eliminates scenes and characters from the original production to streamline the central themes of the Shakespearean play. The five actors occasionally play various roles. Newcomers to the story will not notice these changes as the actors easily jump into the Shakespearean language and draw the audience into the story.
This play begins with the Soothsayer (Yaw Osafo-Kantanka), warning Julius Caesar (Roland Royal III) to beware on the ‘Ides of March’. This warning is not taken seriously; instead, Royal portrays a boisterous Caesar as Brutus (Remiel Farai) and Cassius (Samya De Meo) observe him. Having gained too much power, Caesar quickly becomes a threat to his political colleagues and friends.
De Meo’s Cassius’s elegant usage of the Shakespearean language is hypnotising to hear and watch as she casts her sights on turning Brutus against Caesar, his close friend. Her command of the language and characterisations lends to one of the highlights of the night when she first portrays Cassius finally winning over Farai’s Brutus, before quickly changing to become a strong-willed Portia. De Meo’s Portia is a breath of fresh air, drawing laughter from the audience as she demands her husband, Brutus, to reveal what has been troubling him.
De Meo transforms again in the next scene to become Calpurnia, Julius Caesar’s wife. Dreaming of catastrophe, De Meo reshapes herself into a frightened and concerned wife. She pleads with her husband to stay with her, but Royal’s Caesar is easily persuaded to leave the safety of his house.
Playing three different and distinct characters proves no trouble for De Meo, whose tone, movements, and mannerisms change quickly, allowing the audience to understand who she is in each scene. This is truly a remarkable feat.
Having actors play numerous roles does not always work as well for this production. Royal’s Julius Caesar is cocky and commanding in the first half of the show. This strong portrayal leads to an awkward moment when he plays the role of Cinna. The scene is too quick to properly give Royal the chance to distinguish himself as another character, and though his outfit is slightly altered, Cinna loses his identity, becoming more Caesar in disguise. His adaptation of Octavius is better as he highlights how being cocky is a family trait.
Through all of this, Osafo-Kantanka’s Soothsayer watches on, striking his drum at key moments. This Soothsayer moves beyond the corporeal flesh and becomes a spiritual guide leading Brutus and Cassius to their end. Though typically serious in this production, the Soothsayer brings a lot of laughter and joy, leading the audience back into their seats at the end of intermission. Once seated, the audience is taught how to properly participate in Brutus’s and, then, Mark Anthony’s speeches. This fun interaction allows the audience to engage with the actors who easily play off them.
Another highlight is Samater Ahmed, stepping into the role of Mark Anthony. With script in hand, Ahmed easily depicts a meeker and milder Anthony, a follower, until he must correct the chaos following Caesar’s death. His Anthony commands the stage once Caesar passes, giving the audience a glimpse of the general who will one day co-rule Rome.
Coombs’ quick-moving adaptation is well done, clearly capturing the moral and political dilemmas that killing a leader causes. This abbreviated Shakespearean work perfectly captures the original work, while also encapsulating African-inspired elements.
Runs until 15 November 2025
