Caesar is a popular hero and leader at a time of turmoil in republican Rome. The populace is looking for easy answers to troubling events (as people tend to do), and Caesar's fellow politicians are envious of his growing power, concerned that he will use his enormous appeal to make himself king and thus destroy the republic. Driven by their own ambitions and envy, mixed with a certain patriotism, they seek to draw Caesar's good friend Brutus into a conspiracy to murder the troublesome leader.
Though called "Julius Caesar," this is really a play about Brutus-his fine character and his tragic character flaws. David Quicksall's Brutus is a man of strength, intelligence and honor. His torment is obvious as he struggles to find the right path. Must he be loyal to his good and brave friend Caesar? Or must he forgo friendship for the good of the state? Quicksall provides a full-bodied performance that reveals the full complexities of the man.
Once his tortured decision is made, and despite his personal anguish, he moves forward forcefully-administering the final stab wound that kills Caesar. The state is thrown into a civil war that eventually results in the death of the conspirators.
Quicksall is not the only outstanding actor in this production. The entire cast is good, and it seems almost unfair to single out any one performer, but mention must be made of the way Kelly Kitchens as Portia, Brutus' wife, evokes the turmoil and fear that must be felt by any wife who senses her husband's impending fall from grace. Andrew McGinn makes an appealing, if a bit too naïve, Caesar, and David S. Hogan as Antony is stunning, especially in his famous funeral oration that damns the conspirators and foments the strife that follows.
Hana Lass as Cassius, ringleader of the murderous gang, brings a coldblooded determination to her role, in accordance, of course, with the vision of director Gregg Loughridge. Her Cassius has no internal conflict. Caesar must die, and she'll do anything she can to make that happen. It was an interesting decision to cast a woman in this role, and interesting also to have it played with so much venom. It adds a different twist to a play about male bonding and power struggles.
Loughridge has made a number of unusual decisions for this production. Instead of togas, the main characters are garbed as martial arts enthusiasts. It seems preposterous at first, but it works, especially for our society in which martial art schools are thriving businesses and manga and anime are pervasive. We're living in an era that honors the work of Bruce Lee, Jackie Chan and, of course, Uma Thurman as Beatrix Kiddo, that most effective member of the Deadly Viper Assassination Squad in Quentin Tarantino's "Kill Bill."
So, the martial arts milieu and costumes of this "Julius Caesar" are entirely appropriate. In addition they allow Loughridge to choreograph key scenes between Brutus and Cassius in martial slow motion. This works to intensify their significance and add layers of meaning and beauty.
A decision was also made to bring the audience in on the action. I don't mean just as witnesses, but as players. The performance begins with a harried Casca (Brandon Simmons) rushing in to rehearse the audience in its lines. What, the audience's lines? Oh yes, "Caesar, Caesar, Caesar." We're to play the crowd. We're to reinforce certain moods. As the play unfolds, we do as we're told and thus heighten the experience, becoming part of the action and increasing our emotional involvement.
In all respects this is an imaginative and compelling production of one of Shakespeare's most accessible plays, and Jason Phillips' scenic design and Tim Wratten's lighting are key components of its success. Their arresting backdrops provide a changing panorama from crowd scenes to celestial vistas, from silhouetted action to abstract design.
Note that this offering is "Chamber Julius Caesar." That means that the production team has cut large segments from the original text to keep the performance within a time frame comfortable for modern audiences. The cuts have been judicious. The play loses none of its power because of them.
You might also be interested to know that running in tandem with this play is another Seattle Shakespeare Company offering. Called "Swansong," it explores the friendship and rivalry between the Bard and Ben Jonson. "Swansong" opened this week and will be staged Mondays, Tuesdays and Wednesdays through the end of the month. A review will be in next week's paper.
'Chamber Julius Caesar'
Seattle Shakespeare, Center House
Theatre, Seattle Center
Thursdays through Sundays until Jan. 27
Tickets: $20-$34, 733-8222 or
www.seattleshakespeare.org
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