Many moons ago the RSC came to my small northern town putting on a production of Henry IV, Part One which blew my teenage mind, and one can only hope that the school group waiting patiently in the foyer to see this challenging version tale of the price of power would have the same transformative experience.
It’s a coup for the Alhambra to bring this production from Strafford as Atri Banerjee is one of the new breed of RSC directors determined to make the Bard’s words resonate with new audiences, so no togas or laurel wreaths as the big cast wander around in dress shirts, vests and sweatpants. This version which takes some risks has divided audiences, which all good theatre should do. The long first half starts with the cast moving as one to symbolise the mob that will ultimately decide the fates of the protagonists, and on the whole Jennifer Jackson’s choreography works.
Shakespeare wrote this at a time when Britain was worrying about what happens when their childless Queen died, and he uses the machinations of the Roman senate to ruthlessly examine what happens when there’s a void left in the ruling class. It is also a study of idealism, and what happens when good people become convinced that they can change history by any means necessary. In his programme notes Banerjee says he was inspired by the Just Stop Oil movement and their attack on Van Gogh’s Sunflowers.
So as Caesar is knifed by his former friends – ‘Et tu Brute? – the blood is black instead of red, which does add to the visual impact, but the idea that it becomes a critique of how we are allowing our planet to burn feels a bit of a stretch.
The real focus is the assassination of a potential tyrant resulting in a needless civil war costing the lives of ordinary citizens as the great and good battle it out for power on Rosanna Vize’s sparse post-modern set with a revolving cube where the rising number of the dead gather to watch the action.
This is a rare Shakespeare where there are no real villains as he teases out how they all think they are acting for the greater good, but with unintended consequences. Nigel Barrett’s blustering Caesar doesn’t quite convince as a warrior/politician who was the darling of the mob.
The real power comes from Thalissa Teixeira’s towering turn as the noble Brutus and the whole piece comes alive when she is onstage. Her clever reading of the text, movement and the emotional honesty she brings suggests the RSC has found a future star. Annabel Baldwin was a late stand-in as Cassius, and the interplay with Teixeria as the plotters make their plans was precise and passionate. Banerjee’s decision not to cast Brutus and Cassius as men was vindicated by two performers working at a very high level, and whilst it may have offended some traditionalists the theatre did not come crashing down around us.
The other powerhouse performance was William Robinson’s Mark Antony who uses his funeral oration to turn the mob against the assassins. His ‘cry havoc and let slip the dogs of war’ rang true as he subtly assumed the mantle of leadership.
There’s a lot going on in this production, including an impressive chorus made up of local performers and it didn’t all come off, but you can’t fault Banerjee’s ambition, or a very strong cast’s clear commitment to making work.
The real test is whether any of that school party sat quietly near the front had walked away from this theatre with the same new found love of the experience I discovered all those years ago, or better still thinking I can do that.
Julius Caesar is the Alhambra Bradford until Saturday 6th May. To book 01274 432000 or www.braford-theatres.co.uk
Reviewer: Paul Clarke
Reviewed: 2nd May 2023
North West End UK Rating: ★★★