Broadly speaking, there are two primary approaches to modern Shakespearean productions. One focuses on directorial conceptions that seek to find new insights into the world of the plays. This may be accomplished by placing the plays in modern settings, as when Ian McKellen played Richard III in an imaginary political situation modeled after Nazi Germany, or when Hamlet is presented as a modern play where Ophelia is a young Goth girl. Such interpretations can be very exciting and satisfying.
An alternative approach is to rigorously focus on Shakespeare’s original text, spoken with maximum clarity, allowing the words as written to do all the work. And, of course, many productions combine the two approaches. Neither is necessarily better than the other, and, when well executed, either approach can be equally satisfying.
With this production of “Julius Caesar,” the Jacobethan Theatre Workshop opted for the second approach: avoiding conceptual complications, they have focused upon the language, aiming for clarity above all else. The result is a very satisfying production, easy to follow, full of poetry and grace, and very exciting.
I suggest a metaphor: A well-performed play is like a meal prepared by a great chef. Chefs often produce complicated meals with elaborate ingredients and processes that are wonderful to behold and imbibe. They may offer up a seemingly endless parade of delicacies, and surprising, unexpected ingredients, and astonishing juxtapositions. But that same chef can also produce a perfect omelet. And it takes a fine chef to consistently produce a perfect omelet. That omelet may not knock your socks off, but it can still be a masterful example of the chef’s art. Simple, but perfect in its way.
With this “Julius Caesar,” the Jacobethan Theatre Workshop has served up a sublime omelet, elegant in its simplicity.
Or perhaps I should say Caesar Salad?
But I think you probably get my point.
The staging is minimal. The costumes are modern, but neutral. The behavior is straightforward. The only meaningful ingredients are Shakespeare’s words and the actors’ bodies. It is enough, however, because director Lukas Raphael (who also plays Mark Antony) and his well-rehearsed troupe of actors know how to be straightforward. There is no affectation here. The movement is natural. The voicing is natural – no Shakespearean moans and groans and pipes and fiddles. Just words spoken like in real life, and gestures that clarify without showing off.
The result of this care is that the story is exceptionally easy to follow. The intricate plans of the conspirators do not confuse. The pivot point of the plot is exceptionally clear: the very naive Brutus, overruling his co-conspirators, makes the grievous mistake of allowing Mark Antony to deliver an oration over Caesar’s corpse and thereby starts a war. Big oops!
Along the way, we are treated to some excellent performances in which familiar characters spring freshly to life. The two husband-and-wife scenes (Caesar and Calpurnia, Brutus and Portia) are particularly well played for emotional truth.
David Noll’s Caesar is exceptionally complex. Although this is a minor role, often given merely adequate attention, Noll shows us Caesar’s deep feelings for Calpurnia, his long experience as a soldier and leader of armies, his ambition and his doubts and his blind spots. As Cassius, Amanda Vitello seems to effortlessly allow every emotion to play across her face unfiltered. As Brutus, Jesse Jensen suggests both decency and smugness very well. And Lukas Raphael is capable of hitting the required histrionic heights demanded by the role of Mark Antony.
The entire company performs with grace and confidence. The result is a “Julius Caesar” that makes few demands on the audience, but gets the job done. It is an exciting tale, told well.
“Julius Caesar” continues Aug 14, 15th and 16th indoors at “Life On Art” in Petaluma. For further information, click here.
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Rating: *** (For an explanation of TheatreStorm’s rating system, click here.)
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“Julius Caesar” by William Shakespeare. Presented by Jacobethan Theatre Workshop/Shakespeare In The Park(ing Log). Director: Lukas Raphael. Assistant Director: Mariangela Pagán. Fight Choreographer: David L. Yen. Costume Design: Tracy Hinman. Costumer: Samantha “Sami” Maher. Set Design: Bruce Lackovic. Mateo Felix: Props/Sound/Technical Director.
Cast:
Cobbler/Artemidorus/Lepidus: Sky Collins. Caska/Octavius/Plebeian: Sergio Diaz. Brutus: Jesse Jensen. Portia/Strato: Katherine Mazer. Decius Brutus/Cicero/Plebeian: Nate Musser. Caesar/Cinna The Poet: David Noll. Marc Antony: Lukas Raphael. Calpurnia/Mettelus/Pindarus: Lydia Revelos. Casius/Plebeian: Amanda Vitello. Cinna/Volumnius/Plebeian: Cinnba Volmnius.
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