Archive for December 6th, 2012

Mini-review – Julius Caesar – Donmar Warehouse

December 6, 2012

This has been the year for Shakespearean double vision. Not content to see Henry V, Winter’s Tale, and Julius Caesar once this year, I’ve been forced by outstanding casting, adventurous producing companies, or unusual interpretations (a musical?) to see them all twice. But none of these rewind shows has excited me as much as the all-female Caesar presented by the Donmar this winter. Though I love Propeller Theater and the Globe’s Twelfth Night pleased, I was mesmerized by the idea of women driving this most masculine of Shakespearean dramas. And what a counterbalance to all of the “traditional” all-male shows. Phyllida Lloyd, bring it!

In practice, the show delivered. The setting, a prison, prepared us with a sentiment of why the show was happening as performed; but quickly the novelty of women kissing and being brutal to each other disappeared into the solidity of the text, with only the occasional clumping of the guards overhead to remind us of where we really were: a place ruled by honor, violence, and power. Caesar convinced with both arrogance and superstition; Marc Antony was righteously wrong and a deliciously duplicitous self-claimed non-orator; Brutus was noble, heartbreaking and heart broken.

Small, apt touches punctuated the fiercesome tide of the text: the sad, weak seer, with her babydoll and pig tails; the inmates gathering to watch TV; the single snare drum pop with which Caesar, her ghost miraculously appearing amidst a percussion kit, marks the death of Brutus. And then towering above it all, the amazing battle scene as loud rock breaks out and the band is wheeled across the field (er, the floor of the prison), all pain and noise and flickering light and chaos, like War Pigs in the theater. It’s not glory, boys, it’s death and destruction, and it may just be we chose the wrong side.

And then it’s time to go back in our cells, and the night’s over, and I thought, “Fuck yeah, Shakespeare meets Black Sabbath,” and, “Why aren’t there some better plays out there about what life is really like in prison,” and, finally, “Yep, it rocked.” And I realized that I totally forgot who was playing what a long time ago. That, to me, is a sign of some damned good theater.

(This review is for the performance that took place the night of December 6th, 2012. It continues through February 9th.)

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