A clean and uncluttered concept allows for a strong reading of Julius Caesar from Melbourne Shakespeare Company as they venture once more indoors as part of their MSC Studio series at the highly atmospheric fortyfivedownstairs Theatre.
Set in an indeterminate locale in what might generally be called present day, the straightforward staging from director Richard Murphet makes a strong parallel to the path to power of many a current or recent world leader without specifying any particular personages. Julius Caesar strides through the surging crowd with the confidence of privilege, his trophy wife a precious adornment to his public facade.
Designer Dale Ferguson chiefly utilises the existing character of the fortyfivedownstairs space. In a nod to tradition, a large wall bears the looming silhouette image of a coronet wreath-wearing Caesar.
The economical lighting design of Kris Chainey adds significantly to the atmosphere, often casting shadows as much as light. Chainey makes artistic use of the Acrow Props holding up the ceiling, reflecting vivid colour from their rough metallic surfaces.
Crowd sizes are effectively boosted by Grace Ferguson’s characterful sound design. Musician Genevieve Fry enhances the sense of tension with subtle ongoing accompaniment that is well calibrated to the changes in tone of onstage action.
In clear denotation of privilege, Caesar and his entourage partake in horse-related pursuits, outfitted for dressage one and all. Contrasting the equestrian elite with hooded rabble, Ferguson’s costumes create the sense of a society pushed to the edge. When civil war erupts, the revolution takes to the streets, the hard-hatted ruling class still dressed quite glossily as they become warriors ready for physical combat.
While both sides are clearly represented earlier in the play, the battlefield pits Cassius and co against an unseen force. leaving the enemy to the audience’s imagination. Unfortunately, the absence of battle and of casualties underplays the threat, making it much harder to grasp the motivation for the suicides of Cassius, Titinius, and Brutus.
In the title role, Hunter Perske projects the deep-seated confidence of a man riding the crest of a surging wave of power. Ferguson saves the only splash of costume colour to dress Perske in a dark red jumper, strikingly representing the blood that is soon to spill from Caesar’s torso. It might sound odd to say, but Perske plays an excellent corpse, projecting a sense of ominous dread even in complete stillness.
In a successful bid to provide a little balance to the male-heavy ensemble, Murphet casts Natasha Herbert as Marc Antony. With a finely honed gift for Shakespeare’s language, Herbert is utterly compelling in speeches where Antony rages about the “dogs of war” and whips up support with “Friends, Roman, Countrymen, lend me your ears.”
Mark Wilson conveys the duplicitous, self-serving motivation of Cassius. Mark Yeates rounds out the conspirators as Casca, proving a vivid storyteller as he relates Caesar’s refusal of the crown.
Matthew Connell’s relative youth brings an added vulnerability to Brutus, underpinning the character’s indecision and his propensity to be manipulated and then wracked with remorse. In an open and engaging performance, Connell brings the audience along on Brutus’ side.
In the intimate performance space, each member of the diverse ensemble has the chance to clearly be seen and appreciated, the contribution of every artist adding significantly to the dramatic effect of the whole.
In featured roles, Annabelle Tudor is a standout in her scene as the ill-fated poet Cinna. Tony Reck is eerily threatening as the omnipresent Soothsayer.
With the season all but sold out before opening night, Melbourne Shakespeare Company has capitalised successfully on both their loyal following and the appetite of Melbourne audiences to enjoy a classic Shakespearean tragedy.
Julius Caesar plays at fortyfivedownstairs Theatre, Melbourne until 3 September 2023. For tickets, click here.
The Julius Caesar program can be read online.
Footnote: Once upon a time, fortyfivedownstairs patrons used to wait on the stairs for the house to open; now, the box office desk is in the gallery space, which currently hosts the vibrantly colourful exhibition Unsprung by Janna McLaughlin. While enjoying the gallery space before Julius Caesar, be sure to use the bathroom as the performance is a bladder-testing 130 minutes without interval.
Photos: Chelsea Neate