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Cedar City • At first glance, it seems odd that Utah Shakespeare Festival has chosen to stage a sprawling historical tragedy like "Julius Caesar" in the new 200-seat Anes Studio Theatre. But it turns out that the play possesses characteristics that make it an ideal match for this intimate space.
Brutus, Cassius and Mark Antony all have soliloquies where they reveal their motivations and intentions, and having the audience so close makes us their confidantes. We learn that Cassius is willing to do or say anything to manipulate Brutus into joining the conspiracy to kill Caesar; that honor is Brutus' guiding principle, and he will do nothing that betrays it; and that although Antony appears to make peace with Caesar's murderers, he is actually determined to avenge his mentor's death. Each of the three tries to convince us of the validity of his choices.
One of the play's major themes is the fickleness of the crowd, a sobering thing to consider in this election year. Their opinions are so mercurial that they can reverse what they believe almost instantly. We become part of that crowd, and Caesar, Brutus and Antony all try to sway our emotions and get us on their side. And when war inevitably follows the conspirators' actions, we are propelled into its chaos and intensity.
Like Cassius, director Joseph Hanreddy's production has a lean and hungry look. Jason Lajka's set is stark and appears unfinished, reflecting a government in transition. The giant statue of Caesar at one end and the wall at the other are incomplete. Hanreddy dramatically uses the set's metal platform and table to stage Caesar's assassination and the two funeral orations. William Kirkham's moody, ominous lighting brightens to spotlight significant moments. Rachel Laritz's costumes layer togas over contemporary suits, reinforcing the timelessness of the story. And Lindsay Jones' sound design is a masterpiece of orchestrated chaos, combining martial music, drums, machine-gun fire, shouting crowds, singing voices, bombs and flashing lights to bring what's happening offstage on.
As Hanreddy points out in his director's notes, "Julius Caesar" raises provocative questions about the motivations and consequences of political assassination: "How does Shakespeare look upon the rightness, wrongness and the ultimate wisdom of the actions of Caesar and Brutus? Does he create Caesar as a tyrant or a martyr? Is Brutus a liberator or a murderer?"
The play and this production offer no easy answers, and the complexity of the performances supports this ambiguity. Jeffrey Cummings' Brutus and Rex Young's Cassius are a complete contrast. Young's Cassius is a man of the world, calculating, conniving and used to getting his way. Does he kill Caesar out of envy, as Antony suggests? Cummings' Brutus is a philosopher, a gentle, compassionate man naïve about playing political games. After the assassination, he faces decisions he is ill equipped to handle and makes unrealistic choices.
As Mark Antony, Sam Ashdown is equally charming and unscrupulous. He cleverly uses his funeral oration to betray the conspirators. Does he truly love Caesar or callously use his death to advance his ambitions? And Paul Michael Sandberg's Caesar is a big bully of a man. He is charismatic, arrogant and egotistical, but is he ambitious? Would he be a good leader for Rome? After his death, who will follow?
"Julius Caesar" explores interesting issues in an election year, and embedding us in its action in this small space makes us think about them. What are the qualities of a good leader, one we would like to have? And how will he or she deal with the double-edged sword of political power? —
'Julius Caesar'
Utah Shakespeare Festival's "Julius Caesar" raises intriguing issues in an election year and works amazingly well in the new Anes Theatre's intimate space.
When • Reviewed on Aug. 5; in rotating repertory with "Murder for Two" Mondays through Saturdays at 2 p.m. and 8 p.m. through Oct. 22.
Where • Eileen and Allen Anes Studio Theatre at the Utah Shakespeare Festival, 299 W. Center St., Cedar City
Tickets • $46-$50, with discounts for groups, students and seniors; 800-PLAYTIX (752-9849) or bard.org
Running time • Two and a half hours (including an intermission)