Year of Shakespeare: Julius Caesar

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  1. Caesar, of course, was never the star of Julius Caesar; no matter how big your cast, he will never make it past the opening scene of Act III. But in not offering him even a walk-on part, director Andrea Baracco's adaptation has a hole at its heart. Caesar's ghost is played by Calpurnia and the punched-through chair; she crawls on stage with it jammed around her waist, and the effect is bathetic rather than unsettling. A tight, confident cast of six do their best – but the lapses into extraneous physical theatre take away far more than they add.
  2. The idea of a stripped-down, deconstructed Shakespeare tragedy sounds great, but not when the play’s gut’s have been replaced by an incessant overload of meaningless actions and clambering around the stage as if in a padded cells.
  3. Italian Julius Caesar most radical and inventive production so far. No Caesar, but plenty of crayon, doors and lightbulbs. #g2g
  4. It’s dark, it's moody and it's full of intense symbolism. They combine really strong physical theatre with accurately delivered lines. The emotion punches you in the face and there isn’t a sound. You can hear the audience holding its breath and then breathing as one.
  5. the decision to make Caesar unseen throughout gave the production a coherence and unity of tone often missing from stagings of the original text. The whole reworking and theatrical language of the production made it the most innovative and radical of the Globe to Globe festival to date.
  6. It is a thought provoking and refreshing take on one of Shakespeare’s best known plays. It conveys its own message without detracting from the thrust of the story and for this the members of 369gradi e Lungta Film are to be congratulated. This is the first play I have seen as part of the Globe to Globe season and I’m hungering for more.
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