The Southwark Playhouse Borough’s production of Julius Caesar offers a futuristic reimagining of Shakespeare’s classic tale of political intrigue and the lust for power. While the adaptation remains faithful to the original text and preserves the integrity of Shakespearean language, it falters in its execution, particularly in its attempts to merge modern technological elements with a centuries-old script.
The integration of futuristic concepts—such as the use of advanced technology, weapons, and projections—initially seems like a bold choice. The clash between the antiquated language and the modernized aesthetic often feels forced, making it challenging for the audience to remain fully immersed in the world of the play.
That said, the production’s technical achievements were impressive in certain areas. The set design stood out for its creativity and functionality. It featured a series of manipulable boxes that served as both structural elements and screens for projecting various images and messages, contributing to seamless scene transitions. This dynamic set kept the stage visually engaging and helped to clarify aspects of the narrative through multimedia storytelling. The use of on-screen captions was another thoughtful addition, enhancing the accessibility of the performance for those who are deaf or hard of hearing, a commendable choice that ensured inclusivity within the audience.
Despite these innovative touches, the choice to depict Julius Caesar portrayed by Will Travis exclusively through digital projections was problematic. While Travis delivered a strong performance, his portrayal being confined to a screen significantly detracted from the live theatre experience. The heavy reliance on digital projections shifted the production toward a cinematic realm, undermining the immediacy and presence that come from watching a live actor on stage. In doing so, it lost some of the intimacy and visceral energy that typically defines Shakespearean theatre.
However, not all performances were diminished by the technological trappings. Gabrielle Sheppard’s portrayal of Casca was a standout. She delivered her lines with power and conviction, capturing the essence of Shakespearean drama. Her commanding stage presence and expressive performance provided the traditional gravitas that felt somewhat lacking elsewhere in the production.
Overall, whilst the Southwark Playhouse’s Julius Caesar deserves praise for its innovative set design and commitment to accessibility, its futuristic concept and reliance on digital elements ultimately undermined the impact of the live performance. By placing too much emphasis on technology and spectacle, the production strayed from the core theatrical experience, diluting the emotional and dramatic depth that Shakespeare’s work is known for.
Playing until 5th October, Southwark Playhouse – Theatre and Stuff – Borough & Elephant
Reviewer: Zain Russell
Reviewed: 13th September 2024
North West End UK Rating: