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Julius Caesar

Reviewed by Vanessa Cate

A Noise Within

Through May 8

RECOMMENDED:

The third part of A Noise Within’s REVOLUTIONary season, William Shakespeare’s Julius Caesar presents a tragic look at politics, ambition, loyalty, and ultimately the timeless quality of the struggle for power and honor.

The difficulty in presenting Shakespeare is how well-known and widely-available his works are. Therefore, directors may choose a traditional rendering or some unique take, whether it be in the form of era, setting, costumes, etc. Julia Rodriguez-Elliot & Geoff Elliot’s version falls somewhere between those two poles. Muted and beautiful costumes by Angela Balogh Calin set our characters somewhere between a militaristic ancient Rome, 1930s United States, and some indistinct but bleak future. The set — very Brechtian — by Frederica Nascimento with gorgeous abstract paintings by Orlando de la Paz, unifies these notions and sets the tone for the scenes unfolding.

That “Brechtian” quality is no coincidence– this is the same team directing team and designer behind A Noise Within’s The Threepenny Opera, which runs in tandem. On certain days, performances of both plays may be enjoyed back-to-back, adding to a broader theater experience.

It is no surprise how Julius Caesar (Patrick O’Connell) meets his end. Just about anyone can tell you “beware the Ides of March.” But though he is the eponym for the play, Caesar is hardly the main character. True, his grisly demise sets all actions into motion. But it is for the honorable Brutus (Robertson Dean), the ambitious Cassius (Freddy Douglas), and the loyal Mark Antony (Rafael Goldstein) that the play’s machinations unfold.    

Performances all around are very strong. Dean’s Brutus is clear, firm, and sympathetic – a leading man we can get behind even as he himself is lost. O’Connell’s Caesar, Douglas’ Cassius, as well as the rest of the ensemble are solid. But it is Goldstein’s sincere, raw, and beautiful Mark Antony that stands above. His recitation of the speech (“Friends, Romans, Countrymen…”) following Caesar’s demise is at the same time electric and clear. I overheard several audience members remark how his delivery could so easily be understood – which is admittedly a challenge at times even for the scholars and enthusiasts among us when listening to iambic pentameter. (Full disclosure, Goldstein and I shared a stage as co-performers some years ago. That said, and personal respect aside, in this performance he lights the stage on fire.)

Though the play was written in 1599 about someone who died in 44 BC, a tale of political upheaval, conviction, and consequence may find relevance today, not only in general, but in the midst of Ferguson, Charlie Hedbo, the Occupy movement, and even the tumultuous nature of L.A. theater itself. The need to stand up for what we believe is right is, well, universal. And perhaps – absorbing the way some of the audience is left feeling after the play — things may never truly be resolved.

 A Noise Within, 3352 East Foothill Blvd. Pasadena, 91107; schedule varies, call theater for details; through May 8. (626)356-3100; www.ANoiseWithin.org