Julius Caesar
Reviewed by Audrey Schlief
ISC Studio
Through May 11th
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[Note: This review is part of the Z. Clark Branson/Stage Raw Equity and Inclusion Initiative for Young Journalists. Stage Raw staff are mentoring the young authors, as they build their professional resumes as arts journalists.]
Julius Caesar is a tragic, impressive political tale that finds Rome on the brink of civil war. Shakespeare’s historical, violent script narrates the conspiracy against Julius Caesar’s ambition for the crown. Independent Shakespeare Company’s Julius Caesar is a politically relevant production that packs quite a punch, as resistance and opposition are always present in government.
Shakespeare’ story lays bare the treachery of politics in Ancient Rome, 44 B.C. as Julius Caesar (David Melville) returns home triumphantly from war. Caesar’s power grows and fellow senators Brutus (Faqir Hassan) and Cassius (Paul Turbiak) become suspicious, fearing too much power is held by one man. A scheming rebellion forms, determined to smother Caesar’s intentions. Cassius is jealous, while Brutus has a more balanced view of the political situation. Cassius and his allies visit Brutus to persuade him to join them, and they plot Caesar’s death.
David Melville and Melissa Chalsma’s wonderful direction lightly intersperses humor throughout the production, adding a subtly modern feel. Furthermore, a device of shout-back audience participation contributes a sense of community. Though the production lacks a sense of danger at times, it has the raw traits of personality and distress that Shakespeare likely intended.
Lia Wallfish does a terrific job with the costumes; they’re stylish and well-put together, and not too distracting with colorful sashes and muted tunics. They enhance the production with an accurate representation of the time period. The set design (devised by Melville and assistant director Carly Reynolds) is practical, minimalistic and consistently used. Bosco Flanagan’s lighting is also marvelous, displaying tension with hues of red, and stormy sadness with blue. Jamir Muñoz’s sound design is powerful and at times fiercely dramatic, setting a tense, haunting mood. Janet Lê’s video art draws us in, even before the production begins. It brings a sense of treachery and uprising, even encouraging the audience to participate during the production.
Faqir Hassan’s Brutus is formidable and shows strong sentiment at times, but otherwise feels unfortunately flat. His closest confidant and political dependent, Paul Turbiak’s Cassius, is powerful and conniving. He’s wonderfully rash, ambitious, and passionate. Sam Breen’s comparatively gentle Mark Antony is emotional and shows a sense of humanity, while Kevin Morales’s Cinna the Poet is likable, funny, and spirited. (Morales brings a delightful lightness to the production.) Kendell Byrd as Lucius also contributes a certain surprising humor, and her lovely voice has a light, nostalgic joy.
The political aspect of Shakespeare’s tragedy still relates well to present times, demonstrating that there are two sides to every story, and there is not always a strict good-versus-evil distinction in real life.
ISC Studio, 3191 Casitas Ave. Ste. 130, Los Angeles; Thurs.-Sat., 7:30 p.m.; Sun., 2 p.m.; no show 4/21; though May 11th. (818) 710-6306 or www.iscla.org. Running time: Two hours with one intermission.
