Julius Caesar – Smock Alley Theatre – Review by Frank L.

by William Shakespeare produced by Tartarus Theatre Company

According to the director Robbie O’Raw’s notes, this is Tartarus Theatre Company’s first show. Julius Caesar cries out to be played in a time other than ancient Rome as a stage bedecked with men dressed in togas somehow has a comic effect. Therefore modern day dress is just fine as the crux of the play is how susceptible public opinion, in the form of the crowd or mob, is open to manipulation. That is a phenomenon that does not alter over the centuries and is the genius that underlies Mark Antony’s speech “Friends, Romans and Countrymen lend me your ears”.

The decision to cast Brutus as a woman initially seemed surprising and the use of the female pronoun while initially somewhat jarring became acceptable. There are indeed qualities of reflection in the character of Brutus which makes him have attributes which are not those of macho male. However, the essence of Mark Antony’s great speech is its oratorical very faint praise of Brutus rammed home in the thrice repeated sentence “And Brutus is an honourable man”. The emphasis on the last syllable is of some considerable importance. Brutus is “a man”. The substitution of the word “woman” alters the rhythm of the entire short sentence denuding it of much of its rhetorical, verbal force particularly when repeated. It goes to the essence of the play. Notwithstanding this problem with the altered text of the speech, Aidan White gave a convincingly, knowing and shrewd performance as Mark Anthony.

The set consisted of a modern rectangular table on the left of which a computer keyboard and screen lay, a modern lit bar in the centre and an oval table with 6 chairs to the right. It neither helped nor hindered the production, even though the presence of the computer did not serve any obvious purpose. The same can also be said of the drinking which took place behind and around the bar.

It is a worthy enterprise to revisit Shakespeare with fresh eyes and ears. However the reason for altering text or the sexual denomination of a character has to have a premise that remains valid throughout the entire production. It is not easy to do. Shakespeare knew what he was doing. Brutus, as written, is probably not capable of being transformed into a woman.  It was brave but unwise to attempt to do so.