Globe on Screen: Julius Caesar

When it comes to compiling a list of Shakespeare's best plays, from personal opinion, 'Julius Caesar' would not make the list, though it would certainly not be on the lesser play list. That is not saying that it's a bad play, quite the contrary. It is compelling with fully rounded characters, interesting themes and some of Shakespeare's most famous lines and speeches, Shakespeare once again showing how unrivalled he is in mastery of language, text and poetry whether in a few lines or big monologues. It does though run out of steam dramatically towards the end and in performance very rarely is the final scene nailed.

This Shakespeare Globe production of 'Julius Caesar' is very, very good with a vast majority of elements being outstanding. It is a shame that two crucial performances didn't for my tastes make the grade (one in particular being a big problem considering the character) and that one touch doesn't come off, because there is so much energy and intensity, some of the best character interaction of all the 2008-2020 filmed Shakespeare Globe productions and all the other performances are absolutely fantastic.

Am going to begin with what is done so well. The production values are very atmospheric and tasteful, nothing jarring with the play's themes or mood. Loved the use of sound effects, with extremely effective use of percussion and period instruments (such as a rare hearing of a sackbut). Lucius' lullaby is also beautiful. The staging is hugely intelligent and treats Shakespeare's text and instructions with respect while also having some fresh touches of its own. The way the space is used is clever, especially in a hair raiser of an opening scene.

Mood wise, the production is full of vigour and intensity and brings a lot of insight into the character relationships and certain scenes never seen before by me in any other production of 'Julius Caesar', notably between Brutus and Portia, everything with the conspirators that is very 'The Godfather' like and Brutus' urgings for the sleepers to rise. The ending is clever and energetically choreographed. Can't fault Shakespeare's text which is masterful, and dramatically the drama is always coherent, exciting and emotionally complex.

Bar two, the performances are absolutely first class. Luke Thompson's Antony is vivid and full of command with a sensitive understanding for the Shakespearean language, he is especially good in the funeral scene. Have seldom seen a more moving Portia than the one portrayed so beautifully by Catherine Bailey, and this is a 'Julius Caesar' where the titular character actually steals the show despite being more a supporting character thanks to the subtle but also shrewd interpretation of George Irving. Christopher Logan and Katy Stephens enjoy themselves immensely.

Not all the performances work. Anthony Howell was rather bland as Cassius. More disappointing was Tom McKay's too cold and one dimensional Brutus, having Brutus without the obligatory anguish in his conflict between where his duty and loyalty lie is like having a lion without a roar.

For my tastes as well the female trio as something of an interpolated Greek chorus were very distracting and didn't add anything to whenever they appeared in a heavy handed way.

Concluding, very, very good with so many outstanding things. 8/10.