Julius Caesar

By Timpane, John | Shakespeare Bulletin, Spring 2004 | Go to article overview

Julius Caesar


Timpane, John, Shakespeare Bulletin


Presented by The Philadelphia Shakespeare Festival at the Philadelphia FestivalTheatre, Philadelphia, Pennsylvania. October 3-November 16, 2003. Directed by David Howey. Art Direction by Carmen Khan. Set by Donald Eastman. Costumes by Hiroshi Iwasaki. Lighting by Pete Jakubowski. Sound and Music by Fabian Obispo. Stage Management by Veronica Griego. Assistant Stage Management by Sarah Braude. With Joe Muzikar (Julius Caesar), Neil McGarry (Brutus), Jared Michael Delaney (Mark Antony), Joe Guzman (Cassius), John Zak (Casca), Patricia Marie Kelley (Calphurnia), McKenna Kerrigan (Portia), Rob Hargraves (Trebonius, Soldier), Brian McCann (Decius Brutus), John Lopes (Metellus Cimber, Flavius, Titinius), Nicholas Clements (Cinna), Steve Gleich (Cicero, Lucilius), Ted Schmitz (Soothsayer, Lepidus), and others.

This was a Julius Caesar that, though played close to text and tradition, found fresh things to say, forcing on us some startling insights about politics, conspiracy, the social impetus of comparison, and the cohering force of friendship.

To conspire is to be paranoid. That might have been the motto for the first half of the production. We see it first in the Brutus-Cassius encounter in 1.2. Each circles the other, cool, politic, testing. Then a citizen passes by, and the two stiffen and pretend nothing is happening. Again and again, the same tense huddling as citizens pass by. Each conspirator has condemned himself to fear and suspicion; an ominous dread of discovery or betrayal colors each move. When in 2.1 Brutus bids the conspiracy "look fresh and merrily," they try, but they can't, really.

In this Rome, each man compares himself constantly to each other man. Everyone is taking stock and keeping score. Cassius, rashly reactive, takes everything personally. Brutus, too, measures everyone. He knows how the petulant Cassius sees him: as a man with superior, mature, sober consistency; Cassius, for all his pride, looks up to him almost as to a father. So Brutus handles him gently, even when arguing and calling him to discipline. By the same token, Brutus senses he lacks Antony's love of games and parties, his oratorical gift, his political skill. Antony is the party boy for the first two acts--he wears something that looks like a Roman warm-up suit--but he is also a politician who, before addressing the mob, smears his face with Caesar's blood. Yet later, in 4.1, we see Antony struggle against the dawning sense that Octavius, not he himself, is the man of the future. Pete Jakubowski's lighting is always very bright on these two, and only Octavius is comfortable in it.

This spare, muscular production seemed to urge the question: Why kill Caesar? Cassius and Brutus have decided, but out of different motives. Cassius wants to kill Caesar out of wounded vanity. Brutus, the general who reads philosophy in his field tent, does not want to kill Caesar at all but feels compelled to do so for philosophical reasons. Neither appears completely confident; each is both decisive yet at sea. After all, Caesar has broken no written law. …

The rest of this article is only available to active members of Questia

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Julius Caesar
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Author Advanced search

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.