The Enduring Drama of Power: Shakespeare's "Julius Caesar"
This Historical Drama at Sacramento Shakespeare Festival is Fitting Fodder for Modern Political Chaos.
Photo By Bruce Clarke
Left front: Riley J Burke, Lauren Ormond, Dakoda "deejay" Jones, Tem Huerta, Jake Brooks, Robert Espinosa, Matthew Fairall
Center: Lauren Graffigna, Janey Pintar, Katherine Folsom, Anna Colatrella, Jonathan Plon, Matthew Malone, Lucinda Briggs, Noah Galvan, Esmeralda
Right front: Phoenix Brewer, Kathleen Poe, Marco Tabayoyon, Eva Hernandez, Ted Muhlhauser, Jim Laferrier
Author’s Note on Gender: This production of Julius Ceasar has both men and women playing male roles. When I am referring to the role, I using nouns and prononuns intended gender of the role as dictated by the production. When I am referring to the actor, I will refer to them by their personal pronouns. All of this is in good intention and if I have misgendered anyone or or used an an incorrect pronoun, please feel free to reach out to me and I will remedy it.
Picture it: Rome, a city on the brink of transformation. Fresh from a victorious military campaign, Julius Caesar returns, his ambition as vast as the empire he seeks to command. Shakespeare, ever the keen observer of human nature, drew from Plutarch’s "Lives of the Noble Greeks and Romans" to craft a narrative that feels as urgent today as it did in the Elizabethan era. The opening scenes of Julius Caesar are filled with dramatic tension. The public celebrates Caesar’s triumph, but the air is thick and foreboding. A soothsayer’s cryptic warning to "beware the Ides of March" is dismissed, setting the stage for one of history’s most famous betrayals.
William Shakespeare's Julius Caesar, penned in 1599, is a timeless exploration of these themes, set against a backdrop of political machinations and personal betrayals. Over four centuries later, the play continues to captivate audiences with its incisive look at the human condition and the perils of leadership. And Sacramento Shakespeare Festival directors Lori Ann DeLappe-Grondin and Christine Nicholson, fresh off their massively successful 2023 collboration on Macbeth, have set their production, rather brilliantly I should add, in Rome in 1922. In 1922, Italy underwent a seismic political transformation as fascism under Benito Mussolini ascended amid economic instability, social unrest, and widespread disillusionment with traditional political systems. Exploiting fears of communism and pledging national renewal, Mussolini's National Fascist Party gained substantial backing, culminating in the pivotal March on Rome in October 1922. This event compelled King Victor Emmanuel III to appoint Mussolini as Prime Minister, initiating fascist rule in Italy and laying the groundwork for a totalitarian regime that reshaped the nation's trajectory.
Does this sound at all familiar?
Photo by Bruce Clarke
Photographed: Kathleen Poe and Phoenix Brewer
As the lights dim and the Art Court Theatre stage comes to life, Shawn Weinshenk’s minimalist set design combined with Isaiah Leeper’s specific lighting design immediately captivates. The stark stage is filled with symbols of the culture that pin point exactly where we are in history while Leeper’s complex lighting plot directs the audiences attention to exactly where the action is happening. This attention to detail carries through the entire play, using technical theatre elements to telegraph to the audience, along with the language, what is at stake in any given scene. While the actors dominate the stage with their language, the production design on the whole, including fight direction by David Harris and costume design by Nicole Sivell, does well to evoke the grandiosity and underlying peril of ancient Rome, their shadows and light playing a subtle game of deception that mirrors the play’s own themes. It’s a visual spectacle that sets the tone for the intense drama to follow.unravels with the flair and finesse of a modern political thriller, leaving audiences both immersed and contemplative. This is not merely a play; it’s a sumptuous feast for the senses, a bold reimagining that echoes with contemporary relevance while honoring its classical roots.
Sarah Palmero leads the ensemble with a commanding portrayal of Julius Caesar, deftly balancing imperious authority with a poignant vulnerability. Her Caesar teeters on the edge of hubris, his impending downfall made all the more poignant and devastating. Particularly compelling is Palmero’s interaction with Calpurnia, portrayed alternately by Janey Pintar and Julianna Schultz, highlighting themes of fate, superstition, and persuasive manipulation. Troubled by ominous dreams and dire omens, Calpurnia fervently implores Caesar to forego the Senate on the ides of March, foreseeing his demise in vivid detail. Despite her heartfelt warnings and the augurers' ominous counsel, Caesar hesitates but is ultimately swayed by Kathleen Poe’s formidable Decius Brutus. Poe deftly manipulates the omens to flatter Caesar's ambition, exposing the tension between personal intuition and public duty, and laying the groundwork for the tragic events that follow—an expertly executed portrayal by this talented trio.
Matthew Fairall’s Brutus commands attention with a solid presence that anchors the ensemble, while navigating his character’s moral dilemmas with a profound intensity. His interactions with Phoenix Brewer’s Cassius are charged with palpable tension and intricate layers of ambition and honor. Brewer, portraying Cassius as a consummate political strategist, contrasts sharply with Fairall’s principled Brutus. Their debate over Caesar’s potential tyranny versus the preservation of Rome’s democratic ideals resonates with timeless political relevance, showcasing their characters’ conflicting motivations and the complexities of loyalty and power.
The assassination scene in Julius Caesar is a gripping portrayal of betrayal and political intrigue. Set in an immersive space, the conspirators surround Caesar under the guise of presenting a petition, exploiting his hubris. As each conspirator strikes, Caesar initially resists until he recognizes his close friend Brutus among them, uttering the famous line "Et tu, Brute?" This pivotal moment underscores themes of loyalty, power, and the fragility of alliances, offering a poignant commentary on the consequences of political ambition. Nicholson and DeLappe-Grondin's decision to include a massive crowd during the assassination intensifies the chaos, emphasizing the public impact of treasonous acts in a way that resonates with contemporary audiences.
And as if the political theatre could not get more intriguing, enter Jonathan Plon’s Mark Antony. Plon’s delivery of Antony’s iconic funeral oration is a masterclass in the power of rhetoric and persuasion. Following Caesar's assassination, Plon delivers one of the most famous speeches in literature, masterfully manipulating the emotions of the Roman populace, seamlessly taking up the mantle of his slain mentor.
Having seen the Friends, Romans, countrymen, lend me your ears speech done by a few actors, this author is awed by the direction and interpretation of this speech delivered by a skilled actor such as Plon. His Antony immediately establishes a connection with the crowd, not by force by via humility and charismatic connection, a push-pull that is uniquely powerful and engaging. Plon skillfully uses the text, full of irony, repetition, and strategic pauses to undermine the conspirators while ostensibly respecting them, all the while inflaming the crowd's emotions via his mild manner and political prowess. Plon’s gentle oratory transforms the public sentiment from support for the conspirators to outrage and rebellion, demonstrating the character’s profound understanding of human psychology and the art of persuasion along with the actor’s trained poise and command. By the end of the speech, Plon not only avenges Caesar's death while also shifting the balance of power, illustrating the formidable influence of rhetoric in shaping political landscapes, but he has the audience in the palm of his hand because you just can’t wait to see what he does next.
Photo: Bruce Clark
It’s Jonathan Plon’s world and we’re just livin’ in it.
The ensemble of citizens, including the vibrant energy by standouts Riley J. Burke, Luna Solis, Lauren Graffinga (also commanding as Portia), and Katherine Folsom, infuses each scene with authenticity and depth. Their collective presence underscores the play’s exploration of loyalty, betrayal, and the tumultuous dynamics of a society in chaos.
In a year marked by political discourse, Sacramento Shakespeare Festival’s Julius Caesar offers not only gripping drama but also a profound reflection on leadership and civic responsibility. This production invites audiences to contemplate timeless questions about power and ethics, resonating deeply with today’s societal challenges. With its stellar performances and thematic richness, Julius Caesar serves as a fodder for an incredibly important cultural conversation.
Ticket Information for Julius Caesar at the Sacramento Shakespeare Festival
Directed by Christine Nicholson & Lori Ann DeLappe-Grondin
Edited by Christine Nicholson
Performance Dates: July 5, 6, 7, 12, 13, 14, 18, 19, 20, 21, 25, 26, 27 & 28
Thursdays, Fridays, & Saturdays: Performance at 7:30 pm
Sundays: Performances at 2:00 pm
Location: Art Court Theatre, Sacramento City College, located closest to 12th Ave. & Parking Lot K.
Advisory: This production has depictions of great violence and death (due to war) and the use of strobe lights.
