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Review Julius Caesar
How many ages hence Shall this our lofty
scene be acted o'er, In states unborn, and accents yet
unknown! ---Cassius As I have already seen two
outstanding productions at the Young Vic with David Lan at the directorial
helm (Uncle Vanya for the RSC and earlier this year, 'Tis Pity
She's A Whore), I was not surprised at his appointment, earlier this
year, as Artistic Director at this innovative London theatre. The Young
Vic has always been associated with giving opportunity to emerging talent
and here Lan has assembled a young cast to play Shakespeare's play of
political murder, revenge and retribution. His production is exciting,
full of visual images which underline the imagery of the text but the
whole is seriously flawed by some of the performances.
Brutus (Lloyd Owen) is full of almost pompous self regard. He sternly
refuses the pleading of his wife, Portia (Jaye Griffiths). Marius
D'Amico's wide-boy Cassius fails to convince and looks more street wise
than lean or hungry. Dorian Healy's gold painted Caesar lacks the
gravitas of the great politician but Robert Cavanagh's Mark Antony
contrasts with a very emotional performance at the death of his
patron.
Lan has some excellent ideas which he translates into dramatic
stagecraft with the aid of his talented designer, Stephen Brimson Lewis.
The traverse stage cuts a wide, white diagonal swathe across the
auditorium. The floor is flooded, the water seeping in slowly, the rain
collecting in puddles, giving myriad reflections. Wooden duckboards
provide walkways. All this heightens the textual references to the river
Tiber, to floods, torrent and waves and reflection as Shakespeare
describes Nature's omens and portents. This is the first time I remember
seeing Mario Borza, the "waterist" credited in the programme, although I
see that he also was responsible for the water in Singing in the
Rain.
At the rear of the stage are the benches of a Roman bath, the places
where Romans carried on business and politics. Having just returned from
Pompeii and Herculaneum, I appreciated this depiction of Roman life. I
particularly liked the way Lan set the sleeping Calpurnia (Phillipa Peak)
above the stage to toss and turn while the sinisterly masked and turbaned
conspirators connive below. During the night of the omens, high above the
stage, flint ladders are set sparking by long poles to give dramatic
flashes of light. The monochrome colours and the music are more
reminiscent of 1950s gangster television programmes or film of the 1940s,
those overly dramatic, and ultimately annoying, chords of The
Untouchables making us think more Sicilian Mafia than imperial
Rome.
Julius Caesar must be one the trickiest of Shakespeare's plays
to successfully stage. The second half of the play is a soldiery tale of
war and consequence. Many of the audiences will be schoolchildren studying
the play. They at least should take away a memorable appreciation of the
text's imagery. Lan's production also brings out the male domination of
Roman society. The future programme at the Young Vic includes Le
Costume, directed by Peter Brook, productions from Japan, the holiday
production of The Three Musketeers and in the spring, a new version
of Pirandello's Six Characters In Search of an Author.
JULIUS CAESAR Written by William Shakespeare
Directed by David Lan
With: Tom Bowles, Robert Cavanah, Nigel Clauzel, Marcus D'Amico,
Evroy Deer, Jaye Griffiths, Dorian Healy, Simon Hunt, Lloyd Owen,
Phillipa Peak, Anthony Psaila, Daniel Roberts, Gary Sefton
Design: Stephen Brimson Lewis Lighting Design: Simon Mills
Composer: John Harle Waterist: Mario Borza Running time:
Two hours 40 minutes with an interval Box Office: 020 7928 6363
Booking to 28th October 2000 Reviewed by Lizzie Loveridge
based on 26th September 2000 performance at The Young Vic, The Cut,
London SE1. | |