Julius Caesar

Part of the Royal Shakespeare Company’s Roman double bill alongside ''Anthony and Cleopatra'' in 2017, Angus Jackson’s epic staging and clear interpretation of Shakespeare’s tragedy is a well-observed study in powerplay, politics, and driving ambition. After returning triumphant from battle, Julius Caesar’s jealous conspirators plot to assassinate him, including his close friend Brutus, to prevent him from becoming too powerful. Mayhem and murder ensue in what becomes a bloody internal power struggle. Set in a classical Rome that highlights the opulence and majesty of the Roman Empire, Robert Innes Hopkins’s striking set of mighty marble colonnades adds gravitas. Jackson’s fine production was praised for its, ''nuanced portrayal of the divisions against those conspiring against a dictatorial Caesar'' and is complemented by strong performances that include Andrew Woodall (The Count of Monte Cristo and Solo: A Star Wars Story) as the vain, self-obsessed Julius Caesar, James Corrigan (This England, This is Going To Hurt) as an impassioned Mark Antony and Alex Waldmann (Scoop) as Brutus. Although a male-dominated play Hannah Morrish as Portia and Christine Atherton (Outlander) as Calphurnia capture powerful moments of humanity and grace under pressure. Eloquent exchanges highlight the contemporary relevance of the play’s universal themes making this one of Shakespeare’s most prescient works. ''Let’s all cry peace, liberty, freedom'' has an almost prophetic ring to it in what is a richly thought-through and commanding production.