Every once in a while, I am asked to review a play that leaves me feeling truly privileged to have been in the audience.
In “Julius Casear”, OVO have taken a much loved classic and given it a new significance.
What is it about a magical production like this that makes it so affecting? The answer is clearly a high level of creative teamwork.
It began with the vision of director Matt Strachan - setting the play in 1970s communist Rome where the feminist movement was growing. It was a great way to retell this classic story drawing parallels to another turbulent political time.
However, I’m sure I wasn’t the only person in the audience to feel another resonance; the thoughtful stage design (by Simon Nichols) showing the fraction and tension between those of wealth and poverty felt only too close to home!
It is not always a popular move to adapt Shakespeare’s work but I applaud this thoughtful script by Micha Mirto.
It was great to see the roles of Portia and Calpurnia developed to give them more motivation for their actions. I was also pleased to see two female actors in the roles of Brutus and Cassius.
To reduce the roles to seven really helped to focus the story on the events and characters that drive it.
And what of the actors? Well, I have seldom seen such a talented cast working together so sublimely; it was clear that their rehearsal process had focussed strongly on character development and trust.
I found Alis Wyn Davies (Brutus), Malcolm Jeffries (Casear) and Tom Miligan (Anthony) totally captivating throughout. The portrayal of both marriages were completely believable from the highs to lows.
The hint of humour when Jane Withers (Calpurnia) asks Caesar not to go out that day was not only well played by both actors but very welcome in such a serious play.
The powerful performance of Charlotte Whitaker as Cassius really drove the play forward and the understated but strong presence of Matthew Rowan as Casca felt very grounding. To round it off Elise Westwood played a particularly sympathetic Portia.
However, the creative team spreads wider than this. How can a modern production possibly capture the superstition that lingered in their air in ancient Rome?
Effective sound design from Michael Bird is the answer - with a constant background hum of political disquiet the audience were on edge throughout with a sense of foreboding.
Costume, lighting, fighting, intimacy and movement were also managed expertly throughout.
Once again OVO demonstrate that they not only pick some outstanding professionals but know how to get the best from them.
This is an ambitious production which will help you see a play you thought you knew in a deeper way and we are very lucky to have it on our doorstep!
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