THEATRE
Written by William Shakespeare
By Melbourne Shakespeare Company
At fortyfivedownstairs until 3 Sept 2023
Reviewed by Kate Herbert
This review was published in The Age Arts online on Sunday 27 Aug and in print on Monday 28 August 2023. I will also talk about it on Arts Weekly on 3MBS radio on Sat 2 Sept 2023. KH
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| L-R-Matthew Connell (back), Malith, Natasha Herbert, Jacqueline Whiting, Mark Wilson, Mark Yeates, Leah Baulch, Annabelle Tudor_image by Chelsea Neate |
When Natasha Herbert’s Marc Antony howls, “Cry ‘Havoc!’, and let slip the dogs of war,” her passion and vocal power rouse volatile Romans to violent action, sending a thrill through the audience. Shakespeare’s play may be entitled Julius Caesar, but the characters driving the action are Antony and Brutus (Matthew Connell): Antony who remains Caesar’s trusted right hand and Brutus who is Caesar’s political ally until Brutus’s defection.
The play opens with statesman and general, Caesar (Hunter Perske), arriving in Rome to a triumphal parade after his military defeat of rival, Pompey. With feigned humility, Caesar thrice rejects Antony’s offer of a crown. This confirms Cassius’s (Mark Wilson) fears for the Roman Republic, so he exhorts Brutus to join a plot to assassinate Caesar to save and restore freedom, peace and liberty.
What follows is a galloping escalation of intrigue and treachery, political crisis, murder, divisiveness and civil war under opposing leaders: honourable but indecisive Brutus and gifted orator, Antony. The Roman public is fickle, violence simmers, government is fragile, and leaders are not necessarily altruistic.
Richard Murphet’s deft, inventive, streamlined direction propels narrative and main characters from conspiratorial beginning to bloody end. His interpretation of Shakespeare’s text is crystal clear, emphasising the humanity of the characters, while the intimacy of their relationships heightens the sense of betrayal.
Herbert’s gripping portrayal of Antony is the beating heart of this production as she transforms from grief-stricken friend to impassioned orator and, finally, astute and dispassionate military strategist. Her textual interpretation, and physical and vocal technique are impeccable, and her delivery of Antony’s “Friends, Romans, countrymen” speech is thrilling.
Although Connell is a more youthful Brutus than is common, he captures Brutus’s nobility, self-doubt and indecision as he faces the enormity and inexorability of his actions. While the quality of the cast’s acting is uneven, Wilson vibrates with rage as “lean and hungry” Cassius, Mark Yeates captures Casca’s roguish wit and cunning and Perske’s robust physique lends substance to the ageing, weakening Caesar who fears ill omens.
Kris Chainey’s atmospheric lighting and Grace Ferguson’s evocative soundscape enhance Dale Ferguson’s inspired design that incorporates the basement venue’s distressed brick walls, rough-framed windows and wooden floor, utilising its wide space for a colonnade of scaffolding poles, and three, low steps depicting the site of Caesar’s murder.
Murphet’s intelligent production of Shakespeare’s play invites comparisons with contemporary, geo-politics that sees some leaders surf a wave of popularity to become Caesar-like autocrats.
by Kate Herbert
Cast
Artemidorus Michael Sakinofsky
Brutus Matthew Connell
Caesar Hunter Perske
Calpurnia Michelle Perera
Cassius Mark Wilson
Casca Mark Yeates
Decius Jacqueline Whiting
Cinna Malith
Ligarius Leah Baulch
Lucius Sebastian Li
Marc Antony Natasha Herbert
Metellus Annabelle Tudor
Octavius/Popilius Terry Yeboah
Portia Aisha Aidara
Lepidus Tony Reck
Flavius Anthea Davis
Creatives & Crew
Director Richard Murphet
Producer Michael Mack
Artistic Director Jennifer Sarah Dean
Production Designer Dale Ferguson
Sound Designer Grace Ferguson
Lighting Designer Kris Chainey
Stage Manager Harry Dowling
Assistant Stage Manager Finn McLeish
Marketing Coordinator Seamus Allan
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