The RSC’s intriguing new production of Julius Caesar opens with the return of Caesar at the end of the Roman Civil War. He has defeated Pompey the Great, and makes a hero’s return to the rapturous people of Rome. 

Nigel Barrett’s Caesar appears well-liked and amiable; deserving of the admiration and loyalty given by Mark Antony (William Robinson). However, there is unease within the senate, and a faction of senators fear Caesar becoming a king.

The cast as a whole are spectacular. Thalissa Teixeira, playing Brutus, is magnificent, especially when spurred on by Kelly Gough’s Cassius: the pair have an intense and charismatic relationship, as they inspire a group of co-conspirators to bring Caesar’s reign to a brutal end.

Julius Caesar is one of Shakespeare’s more bloodthirsty plays, but under Atri Banerjee’s direction, the more gruesome moments are refreshingly pared back. This results in a beautiful, understated production, with elegant, dance-like fight sequences and staging that showcases the performances and story. Don’t expect clashing swords and blood spatter, but prepare to be drawn in as Brutus faces the consequences of her actions, and tries to remain composed.

However, don’t be fooled into thinking this production is visually simple: the minimalist stage transforms and spins before your eyes. Within the opening minutes, the whole company appears on stage, dancing together, bodies shuddering and arms waving. The cinematic choreography, projection and visual design contrasts with the powerful, controlled performances, and we see seemingly rational characters become a frenzied mob.

The people of Rome are led, manipulated and embodied by Annabel Baldwin’s ‘soothsayer’, although the warning to “beware the Ides of March” is fatally brushed aside by Julius Caesar. Baldwin lingers in the background at pivotal moments, and deftly gives a voice and body to the masses as the political stability of Rome unravels. Also lurking in the corners, a trio of imposing musicians appear from above and, with a chorus of performers from the local community, underpin the play with a soundscape that adds to the tense atmosphere.  

The RSC in recent years has done great work in representing a variety of voices in some of Shakespeare’s finest plays. In Julius Caesar, a history full of grand speeches, traditionally spoken by men, the crowd, both on stage and in the audience, is given something new, led by Teixeira’s Brutus. 

Five stars

Reveiwed by Jessica Clixby at the Royal Shakespeare Theatre, Tuesday 28 March. Julius Caesar continues to show at the venue until Saturday 8 April, and then undertakes a national tour from 20 April to 24 June.