JULIUS CAESAR – Written by William Shakespeare; Directed by Shelly Gaza. Produced by Colorado Shakespeare Festival (Presented at the Roe Green Theatre, CU campus, Boulder) through August 2nd. Tickets available at 303-492-8008 or https://cupresents.org/shakespeare-festival
One year, my boss at the Denver Center, being an enlightened individual and knowing of my deep love for theatre, instead of taking me out to lunch for Secretary Week, bought me a season ticket for the Colorado Shakespeare Festival as a thank you. Not just any year – the Val Kilmer year – 1988. It wasn’t my first time at the Shakes, but it was the first year I got to experience the whole season. Falling in love with Shakespeare under the stars, I was blessed seven years later with the opportunity to serve as Company Manager for the rest of the 90’s. It was a great pleasure to revisit JULIUS CAESAR this season.
Because of the scope of the story, this script is often staged outside. This year brought it inside, which allowed the interpretation to become similar to the evening news with roaming videographers giving us blow-by-blow live coverage of the bloody scenes and public condemnations. Two large video screens on both sides of the stage – similar to the jumbotrons at concerts – followed the action as it happened. The contemporary clothing of the players left no doubt as to the era being portrayed and the intent. While Shakespeare’s groundlings might have been shocked, the boldness of casting female actors in the leading roles of Brutus and Mark Antony gave a modernity to the tale of conspiracy and civil war.
This production moves swiftly through the story, illustrating the ambivalence of the conspirators, the nature of Caesar’s ambition and plans, the warnings given and ignored, and the bloody assassination. Of course, Antony’s famous proclamation of Caesar’s honor is given 5:00 coverage. In remembrance of past performances, what is usually forgotten is the aftermath of the bloody deeds – the civil war that proceeds, the price paid for “saving” Rome from the anticipated tyranny of a conquering hero, and the ignominious deaths of the major conspirators. All is told with the rapid-fire pace of the evening news, making it timely and memorable. The lesson being that no matter how temporarily satisfying a bloody solution to a problem may be, in the long run, it solves little and leads to more discourse.
Caesar, as played by Joe Hilsee in his first season with CSF, brings a solid, mature performance, a man confident but not arrogant. His ghostly return in Act II seems to be asking “Why?” rather than seeking vengeance. It will be fun to see him reprise his role of Caesar in the companion piece FRIENDS, ROMANS, AND COUNTRYMEN later in the season in a (hopefully) more light-hearted manner.
Karen Slack, CSF favorite, as Brutus appears conflicted over the plans for assassination, is almost dragged into the deed against her better judgment. Even hesitating at the final moment. But the deed being done, she assumes responsibility and becomes a powerful leader and spokesperson. Karen Slack can do no wrong in my book. Winning kudos for her turn as Caliban in last year’s TEMPEST, performing multiple roles in the beautiful production of BIRTHDAY CANDLES at Curious earlier this year, playing comedy as well as high drama time after time with thoughtfulness and creativity. As an audience member, you come to expect brilliance and are never disappointed.
Antoinette Robinson is a worthy opponent as Antony, whose oration stirs up civil unrest and dissent. A speech delivered with subtlety and quiet defiance. In the war of words between Brutus and Antony, Antoinette wins that round. She brings an impressive Shakespearean background to her first season with CSF, giving hope for future seasons. She too reprises her role in the later world premiere of FRIENDS, ROMANS, AND COUNTRYMEN.
Most of the actors jump from performing as the senators and conspirators to becoming the plebeians on the street as reporters, assistants to politicians, and rabble rousers. The production uses the whole theatre, with entrances being made from every door, and crowds of people shouting in anger from behind the audience. It places the audience in the middle of the chaos – a highly effective – and slightly frightening – way of recreating a street protest.
The versatile set, creating the grandeur of the Senate, the space for street gatherings and battle scenes, was designed by Kevin Nelson. The street clothing, both business-like and shabby, was curated by Sarah Zinn. Katie Gruenhagen’s bold lighting added creepiness to the arrival of Caesar’s ghost and to the offstage battle scenes. As did Jason Ducat’s sound design, incorporating such diverse elements as opening newscast music and enhancement of the riots.
A WOW factor of 8.5!!