Julius Caesar
Less political but more personal, director Ellen Geer’s fresh interpretation capitalizes on conflicting emotions and raw pathos as catalyst in one of Shakespeare’s headier plays. The risks are worth the payoff with this powerhouse cast subtly plumbing the depths of psychological complexity, but for the clipped pace and the over-pruned edges of the text, any lacking is almost forgivable.
The supernatural elements are scantly suggested or omitted entirely as is the case with the ghost of Caesar (Carl Palmer) appearing before Brutus (Mike Peebler). The soothsayer (Angel Star)—what little we see of her—creeps along in the brush, trilling the famous warning against the “the ides of March,” all but lost in the rabble and rush. The storm’s warbling sound effects used to create a foreboding mood distract and drown out the pivotal scheming between Brutus, Cassius (Melora Marshall) and Casca (Alan Blumenfeld). Excepting Calpurnia’s (Abby Craden) moving and vivid nightmarish premonition, the suspense delineates away from the metaphysical and focuses on human frailty and hubris only.
Geer does successfully incorporate clever gender-bending casting with the ever-impressive Marshall as Cassius, and Angel Star as the Soothsayer while making Susan Angelo’s Portia noticeably pregnant thereby doubling her tragic end. But for all these brave turnabouts, too many minor roles clutter the stage and obstruct the flow of action. The lead actors sometimes compete with what should be deep background characters. The only cameo that should not have been wasted is that of Cinna the Poet barely realized by Brian Weiss.
Another role taken too lightly is Caesar. Palmer’s stoic affectations and paunchy stature gives the impression of authority without putting much more in the role. He is in effect, DOA before his murder and has about as much presence as his laurelled bust onstage. Part of this is due to the enormous talents of Blumenfeld’s irascible Casca, Aaron Hendry’s glorious Marc Antony, and paired with Craden’s Calpurnia, Palmer comes across as a doddering figurehead and certainly not a threat to any state.
While the titled role is Julius Caesar, Hendry makes this Antony’s play. Of all the characters, Hendry undergoes the most visible and thrilling arcs from his womanizing playboy—much like his tomcat Iachimo in this season’s “Cymbeline”—to grief-stricken comrade passionately rousing in his entreaty to the crowd, and a soldier born leader with his masterful swordplay. Hendry is a marvel, electric and magnetic. He’s one to watch as this season proves he’s a rising star worthy of becoming a household name.
The fight scenes deserve a credit for choreography, and much improved since last year’s embarrassing debacle in “Macbeth.” The clumsy clanging of swords distilled to a riveting ballet of firmly planted footwork and creative fencing with increased pace and greater artistry.
Bright and bold costumes by Shon LeBlanc and Valentino’s Costumes display an array of royal colors, impressing the nobility and the age quite accurately with its fluid, complementary designs.
For those who have not yet made it out to the lush, and currently fireless Topanga Canyon, this season is more than enough reason to go. Every show has been an absolute delight. “Julius Caesar” is a fine conclusion for one of Theatricum Botanicum’s most powerful seasons and deserves special merits for its notable talents.
“Julius Caesar”
Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga, CA 90290
Midway between PCH & the 101
Runs through September 26
Sat at 4pm
Sundays at 7:30pm
PH: 310-455-3723
www.theatricum.com