[Information Notes: This production relates to the play Julius Caesar (1599) written by William Shakespeare (1564-1616). The play is loosely based on the life of Roman political and military leader Gaius Julius Caesar (100-44 BC). He was murdered (in the play by multiple stabbing) by a group of senators led by (in the play his friend) Marcus Junius Brutus ('Brutus') on the Ides of March (15 March) 44 BC. In William Shakespeare's play, Julius Caesar is not the main character; it is more centred on the conflict between the senators and others - including Mark Anthony, Brutus, Cassius - both before and after his murder. For plot summary, see internet eg http://en.wikipedia.org/wiki/Julius_Caesar_%28play%29.]

***

A musical version of Julius Caesar by William Shakespeare with explicit gay sex and no Julius Caesar is either a very brave or faintly ridiculous endeavour. But in a few places, Lazarus Theatre's production almost pulls it off. Their 90-minute adaptation brings to the fore the dilemmas of a fidgeting and bespectacled Cassius (Steven Rodgers) and Brutus, played by a well-built Matthew Wade. Unfortunately Matthew Wade never appears able to stand comfortably on stage, and only manages to lift the character from the level of the mildly miffed an hour or so into the play. To make up for this, his physique is displayed to the full during the whole first scene as he sits in a small towel, while other men in small towels touch each other up behind him - for no other reason, it seems, than to indicate that they are in Rome.

Cutting large swathes of William Shakespeare's text also allows for certain juxtapositions. At one point both Portia (Elana Martin) and Calphurnia (Sophie Ash) are on stage together, simultaneously weeping and gnashing their teeth over their obstinate men, long hair flowing over their grief-stricken faces. What this is meant to reveal though, other than that Roman matriarchs were young, lovely and a bit hysterical, is unclear.

But taking Caesar from the plot necessarily creates distance from his essential humanity. Although Cassius continually rants that Caesar is just a man, the all-singing, all-dancing murder sequence (repeated several times) and his great shadowed face painted onto the backcloth suggest that he is far more. He is so incorporeal that the murderers seem to forget immediately that they have just dipped their hands in Caesar's blood. They cheerfully pat each other on their expensively-suited backs, a noticeable oversight in this tightly-choreographed production. Conversely this presentation of Caesar can be used with marked impact, as when the massive face suddenly draws towards Brutus during the visitation of Caesar's ghost. This omnipresent image alongside the watching eyes of the ever-attentive ensemble cleverly reinforces the sense that the protagonists are never quite alone.

Some of the most striking elements are Heather Doole's lighting and designer Ricky Dukes's brooding set, which combine with an overexcited smoke-machine to create a stark and atmospheric space for the action. Sadly this mood is broken on a number of occasions by musical interludes which seem to lifted straight from the barricades scene in (the stage musical) Les Miserables. Even Sophie Ash's powerful vocals fail to rescue the moment, especially given the unconsciously comical stagger when Steven Rodgers tries to pick her up.

It takes a fluid and expressive Robin Holden as Mark Anthony with his heartbreaking delivery of the speech beginning 'Friends, Romans, Countrymen'- followed by stage nudity, a quick buggering and decadent drunkenness - to reignite the drama. He and a wheedling Octavius (Christopher Eastwood) come as welcome relief after all the air-sawing from other desperately emphatic cast members. In their scenes, sliding between those of a squabbling Brutus and Cassius over opposite ends of the same table, Ricky Dukes's taut direction really begins to take effect. When they crawl from under the dead bodies at the end of the final battle to stare each other out, there is even a frisson of true Roman venom. The only problem with this is that there is a whole fight-song-and-dance number to get through first.

Cast Credits: (alpha order): Sophie Ash - Calpurnia. Christopher Eastwood - Octavius. Jamie Hannon - Lepidus. Robin Holden - Mark Anthony. Elana Martin - Portia. Trevor Murphy - Metellus. Lukas Raphael - Trebonius. Lars Van Riesen - Cinna. Steven Rodgers - Cassius. Andrew Root - Casca. Matthew Wade - Brutus. Citizens, Soldiers and Ensemble: Errol Clayton, Lars Van Riesen, Kyle Ross, Anna-Marlene Wirtz.

Company Credits: Writer - William Shakespeare (1564-1616). Adapter - uncredited. Director - Ricky Dukes. Movement Director - Tim McFarland & Ricky Dukes. Music By - Sebastian Willan. Designer - Ricky Dukes. Lighting Designer - Heather Doole. Sound Designer - Liam Welton. Technical Operator - uncredited. Stage Manager - Adam Sheppard. Deputy Stage Manager – Gemma Thompson. Design Assistant – Kasper Hansen. Caesar Portrait Painter - Heidi Lian. Production Photographer - Tina Engstrom. Producer - uncredited. Company - Lazarus Theatre Company. Website - www.lazarustheatrecompany.webs.com. Blue Elephant Theatre: Artistic Director - Jasmine Cullingford.

END

(c) Philippa Tatham 2009

reviewed Thursday 15 October 2009 / Blue Elephant Theatre, London UK

Fringe Report (c) Fringe Report 2002-2012

www.fringereport.com