Writer: William Shakespeare
Director: Olivia Chakraborty
Political back-stabbing is always topical. And seeing a crisp, intelligent performance of the world’s most famous play on the subject, on the day of the Makerfield by-election, is nothing if not salient.
Julius Caesar is one of Shakespeare’s best because, like Macbeth, it has a direct narrative without subplots. It cuts to the chase and never changes or loses pace. A group of well-meaning men destroy their leader, fight the opposing faction and lose. It’s all very familiar.
Director Olivia Chakraborty knows exactly what she’s doing with it, too. She has Tower Theatre (unusually for this venue) configured in the round with a simple circular, mosaic pattern on the floor. The action proceeds with very few props but plenty of movement. She has her cast moving slowly and uneasily round the edge during some of the more intensive scenes when there’s centre stage dialogue. And the wheeling in of Caesar for the funeral across the diagonal is unexpected and theatrically effective. Some of the audience seats are reserved for actors during the funeral so that their heckling becomes inclusive.
The best thing of all about this production is the clarity of the verse speaking and storytelling. Most of these actors know how to make every word work to maximum effect. And three of the cast are outstanding.
First, Arthur O’Kelly’s Brutus is young and charismatic but mature, with all the qualities of a good leader. Thus, he commands the stage at all levels. He develops the character beautifully, too, from the troubled young man in his night clothes during the intimate orchard scene with his worried wife Portia (Sarah Afriyie) through decisive fighting, to being traumatised by Caesar’s ghost and finally to realising that it’s all over. O’Kelly’s anguished dignity and decency are very moving.
Second, as Cassius, James Collins is angry, far-sighted and determined. His is a fine performance which amply counterbalances Brutus’s restraint. The tension, friendship and disagreements between them present an immediately recognisable political situation.
Third, who knows what he was like historically, but Shakespeare’s Mark Antony is a thoroughly nasty, self-interested man – the diametric opposite of noble Brutus. One of the most chilling scenes in the play is his casually marking off people to be killed in a deal, including his own nephew. Joe Davidson gets this ruthless pragmatism perfectly. And his funeral oration (one of the best examples of manipulative rhetoric in the whole of literature) is masterfully done. The timing is perfect as he gradually turns his audience for his own purposes. And there’s a fine moment at the end of the speech when he turns, illuminated (lighting by Nick Insley – very good) and reveals his true colours and thoughts.
Chakraborty sets all this in modern London, which is a good idea but doesn’t always come off. The opening crowd scene with police dispersing the protestors feels very familiar and works well, but of course, the details don’t add up. It’s mildly irritating when a character talks of “this sword” and holds up a short knife, and that’s just an example. The costumes are good though – lots of suits, including glittering white for Zac Sargusingh’s distant king-like Caesar and royal blue for Mark Antony, whose first appearance is as a London Marathon runner, picking up a line in the play about his fondness for sport.
Dying is a slight issue in this intimate, immersive show. The audience is so close that it can see corpses breathing – especially Caesar on his bier, which is mildly disconcerting. There is a stillness trick involving shallow, imperceptible breathing, which these actors haven’t mastered, but it’s a minor gripe.
All in all, this is a strong production of a highly relevant play and well worth travelling to Stoke Newington to enjoy.
Runs until 27 June
