Toronto Review: 'Julius Caesar' at Crow's Theatre is bloody brilliant
Joe Szekeres, Chief Toronto Critic
While studying ‘Julius Caesar’ as a high school student in my Grade 10 English class, I can recall the political intrigue of the play that was sometimes rather confusing for a fifteen-year-old to understand.
Fast forward forty-five years of life happening and growth occurring, Groundling’s production of a very bloody ‘Julius Caesar’ became a captivatingly riveting journey for me even more so alarmingly relevant to the fragile world of political tensions in which we live today, given our neighbours to the south and the terrible atrocities that have gripped the North American nation these last couple of weeks.
Director Chris Abraham made an extremely brave choice not to downplay the horrific violence that can, does and will probably ensue from the conflicting tension of ‘reason, and our belief that we can use it as an all-powerful tool to govern our own actions, and the actions of others.’ This choice paid off as ‘Julius Caesar’ does make me want to reflect further how politics works on us, and why it does thanks to leaders who know how to appeal to the head and to the heart.
It’s a modernized Rome for this production. We meet many jealous conspirators who wish to convince Caesar’s friend Brutus (Dion Johnstone) to join in the assassination plot against Caesar (Jim Mezon). In order to stop Caesar from gaining too much power, the conspirators and Brutus murder him on the Ides of March. Mark Antony (Graham Abbey) drives the conspirators out of Rome and fights them in battle leaving many dead and Mark Antony to become the new ruler of Rome. What is refreshing about this production is additional writing by Zack Russell which places the context of the play into a modern understanding for audiences. I don’t want to spoil what is delivered in this additional writing, but it clearly worked for me as an appropriate conclusion to Groundling’s production.
In the Guloien Theatre, Lorenzo Savoini’s theatre in the round set design worked quite well in offering various vantage points of action of the many battles (internal and external) that will soon be fought. Centre stage are four barricades on rollers surrounding a rectangular desk with radio microphones. Again, Mr. Savoini’s lighting design is effective with the yellow spotlight circulating the floor. Thomas Ryder Payne’s sound design becomes extraordinarily crucial to several scenes. I loved the combination of the lighting and the sound to create an effective use of pathetic fallacy the evening before Caesar is murdered the next day.
The radio talk format at the top of the show worked magnificently for me. In this production, the audience becomes an important part of the action of the play. I honestly felt as if I was listening to the news from Rome. The staging of Caesar’s murder was strikingly staged in offering excellent views of the crime that takes place before our eyes. Another moment that clicked nicely for me was Mark Antony’s eulogy at Caesar’s funeral. The use of pre lit tea candles given to each audience member was a nice touch which created, for me personally, a heightened emotional experience as Antony worked the crowd’s emotions.
For me, these eleven actors are a dream cast par excellence who have graced the stages of some of Canada’s theatres. Emotions constantly run at a fevered pitch heightened level of intensity nicely juxtaposed with the quiet machinations of a leader who works a crowd up to a frenzied state. It’s possible that this constant juggling of voices could become a screaming match, but I never found that apparent at all during this performance.
Jim Mezon is a towering Julius Caesar who becomes easily swayed by the corrupt conspirators who are out for blood. His ‘Et tu, Brute’ is perfectly timed. His ghostly visits to Brutus are haunting. As Brutus, Dion Johnstone believably captures that man who teeters on the edge of his balanced view of the political scene and whether he should join the conspirators or not. Moya O’Connell is acutely focussed as Cassius as she tries with all her diligent might to get Brutus to join their conspiracy. Near the end of the play, Ms. O’Connell nicely captures a dignity as right begins to return to the wrong committed against Caesar.
Graham Abbey’s performance as Mark Antony is stellar. His oration at Caesar’s funeral was nothing short of astounding as he had me on every word spoken. I quickly took around me and audience members were focussed just as I was.
Supporting actors (Sarah Afful, Walter Borden, Ryan Cunningham, Michelle Giroux, Jani Lauzon, Diego Matamoros and Andre Sills) admirably play other important characters who underscore the ‘power of rational argument at odds with the blunt force of emotional appeal’ as Mr. Abraham writes in his Programme Message. Space doesn’t allow me to mention each but highlights for me - Walter Borden’s eerie Soothsayer nicely set in motion what will happen later. Sarah Afful’s Calpurnia (wife to Caesar) genuinely reflects the fear she has for her husband not to go to the Senate. Michelle Giroux’s Portia (wife to Brutus) is also genuine as she senses something is not right with her husband, but he refuses to confide in her.
FINAL COMMENTS: It is my hope that some schools may have a chance to see this solid production especially with the additional writing of events at the conclusion. How I wish there might have been a talk back the night I saw this production as I’m sure I would have learned more to appreciate about this classic play.
JULIUS CAESAR by William Shakespeare (Groundling Theatre Company in partnership with Crow’s Theatre)
Runs to February 2, 2020 at Crow’s Theatre in the Guloien Theatre, 345 Carlaw Avenue, Toronto. For tickets, call (647) 341-7390 or visit www.crowstheatre.com for further information.
Director: Chris Abraham; Assistant Director: Rouvan Silogix; Additional Writing: Zack Russell; Set and Lighting: Lorenzo Savoini; Costumes: Ming Wong; Sound Designer: Thomas Ryder Payne; Props: Lisa Nighswander; Wardrobe: Laura Delchiaro; Stage Manager: Melissa Rood;
The Cast: Graham Abbey, Sarah Afful, Walter Borden, Ryan Cunningham, Michelle Giroux, Dion Johnstone, Jani Lauzon, Diego Matamoros, Jim Mezon, Moya O’Connell, Andre Sills.
Production runs approximately two hours and forty-five minutes with one intermission.
Photo of Dion Johnstone and Jim Mezon courtesy of Dahlia Katz.