When I first heard that the Donmar had programmed an all-female Julius Caesar, I thought it was the new (female) Artistic Director making a point. A bit of a gimmick. I nearly didn’t book. Well, gobble gobble (sound of me eating my words).
The RSC’s African version earlier in the year had me thinking how much more relevant it was in a 20th century banana republic with all the intrigue and machiavellian machinations. This one, set in a women’s prison, made me feel just the same. Somewhere where power, control and ‘politics’ loom large.
The Donmar has had another one of its extraordinary transformations. Fading painted walls, metal walkways and even authentic light switches; it’s every inch a prison – right down to the grey plastic chairs replacing the usual padded benches; not that my bum noticed – I was too engrossed. Bunny Christie’s design is superb.
Even though it is done as a play-within-a-play, its with a very light touch in Philida Lloyd’s production and Shakespeare’s play doesn’t get swamped in any way. It seemed to me perfectly plausible that Caesar would get done over by a gang of fellow prisoners, leading to tussles for control and power games. It just worked, no better than in Mark Anthony’s great speech, which was electrifying.
It’s a great cast and the four central performances tower. Seeing Frances Barber as Julius reminds you how good an actor she is. Cush Gumbo, who I’ve only seen in a restoration comedy(!), is a revelation as Mark Anthony. Harriet Walter is a passionate, defiant yet vulnerable Brutus. Only months after welcoming Jenny Jules in her first Shakespearean role, here she is as the best Cassius I’ve ever seen.
This is as gripping and thrilling a couple of hours can get in a theatre. Don’t miss it.
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