The Assassination of Julius Caesar as Told by William Shakespeare and George Bernard Shaw -Inspired!
Shakespeare’s Julius Caesar (1599 ) revolves around the Rome assassination of its “dictator for life” and roiled aftermath. (Antony curses the murderers and vows revenge.) Bernard Shaw’s Ceasar and Cleopatra (1898 ) is a fictionalized account of the meeting of Julius Caesar and young, queen-to-be Cleopatra on Egyptian soil. He courts and tutors her. In both plays murder is a means to power and revenge is futile. This extremely original piece with adaptations by Eric Tucker somehow melds the two plays adding the trope of a rehearsing theater company as glue.
Andrew Rothenberg (Caesar); Shayvawn Webster (Cleopatra)
Depictions of Caesar, power, government, ethics, and rebellion (in the language of the playwrights, with an occasional colloquial) manifest more ballast than previous rollicking productions by Bedlam. The impressive cast handles narrative with gravitas – as successfully as it lampoons. Characters morph with precision as actors play several roles. It takes a beat to know who’s who, but only a beat. At least a passing acquaintance with both plays and preferably more is necessary. (Synopses might help.) Given that, you’re in for a helluva good time.
“Caesar is dead…” comes the line from Shakespeare. “CUT! We gotta go back to the beginning,” the director (Andrew Rothenberg) interjects. “You mean Egypt, not Rome?” Shayvawn Webster climbs into the audience looking for her cat. Dialogue indicates she’s Cleopatra. Rothenberg becomes Caesar in Shaw’s Egypt. The two meet accidentally, anonymously. She’s wary of encroaching Romans: “They are barbarians. Their chief is called Julius Caesar. His father was a tiger and his mother a burning mountain; and his nose is like an elephant’s trunk.” He’s bemused, curious. She’s naïve, curious.
Left: Stephen Michael Spencer, Rajesh Bose, Andrew Rothenberg; Right: Shayvawn Webster; LABOD (here, Ftatateeta)
We hear a chanting of Caesar’s name and are then back in Rome. Webster becomes Brutus. Cassius (LABOD), prodding change of mind, takes Brutus by the shoulders. The director quickly separates them. (Modern rules of physical decorum.) Both actors are surprised. It seems they used to date. Back to Egypt. LABOD is now Cleopatra’s nurse, Ftatateeta – in a scarf and sunglasses- not needed, the director says, because he’s too good an actor. The queen-to-be flirts with Caesar.
Conspirators meet in Rome. Casca (Jonathan Judge-Russo) defends Caesar: “Why, there was a crown offer’d him; and being offer’d him, he put it by with the back of his hand, thus; and then the people fell a-shouting.” Ra (Rajesh Bose), ancient Egyptian god of the sun, is usually in Shaw’s prologue. “I am come to draw you back 2000 years…” He makes two appearances in the piece. Bose’s personification is wry, but the character is extraneous.
Deychen Volino-Gyetsa, Rajesh Bose, Stephen Michael Spencer
It sounds confusing, but mostly isn’t. Overlaps are smooth, sometimes bridged by a contemporary reaction or line. Focus is unfailing. Acting is first class. How the trajectory of both stories remains cohesive and captivating is frankly a wonder, but then Bedlam is noted for making theater elastic.
Ptolomy (LABOD) has a floor tantrum when his sister perches on the throne… We see Pompey’s head in a jar… “I want us to get to know each other,” the director says to his cast. They circle and share… Brutus’ wife Portia (Mackenzie Moyer) questions her husband with concern and suspicion. The director cuts her scene. (She gets her own back later.) …Caesar speaks like Marlon Brando in The Godfather. His wife Calpurnia (Deychen Volino-Gyetsa) has a pronounced Brooklyn accent.
In Egypt, there’s a birthday party for Caesar replete with streamers and hats… “You’re infatuated with this old man,” Ftatateeta grumbles to her mistress… Apollodorus (Jonathan Judge-Russo) wears a black cowboy hat and drawls, yet his speech is articulate and grave… Hand guns are drawn instead of knives… Pothinus (Rajesh Bose) is murdered at Cleopatra’s command… Warnings are ignored… Caesar is assassinated in Rome… Marc Antony (Stephen Michael Spencer) is given leave to speak over the body. It’s powerful.
Stephen Michael Spencer, Shayvawn Webster, Jonathan Judge-Russo, Andrew Rothenberg, and Mackenzie Moyer
Running time is 2 ½ hours and could successfully be cut by at least 20 minutes.
Shayvawn Webster (Cleopatra) is the diminutive size of a young Judi Dench, yet, like the icon, bigger than the sum of her parts. Nuance and energy are skillfully honed and employed. She’s riveting. A remarkable performance.
Andrew Rothenberg manifests an infuriating director and a credible Caesar. In his hands, the latter is proud, calculating, tired, and, at moments, touched- by the young queen.
LABOD is adroitly multifaceted, as committed to (unexaggerated) female roles as to muscular outrage; as able with buffoonery as solemnity.
Stephen Michael Spencer’s compelling intent never goes over the top. Gut emotion is palpable. Characterization is well drawn and natural.
Adaptation by Eric Tucker manages to sequence related scenes without pandering, giving the audience leeway to make what it will of metaphors and perceptions. For the most part, passages play long enough to get a sense of where and what before we shift. Contemporary interjection is like chocolate chips in a good cookie. Tucker’s direction is exemplary. Actors use the entire theater. Stop/start framework arrives without a frayed edge. Caricatures are organically included, never prioritized. Language is beautifully enunciated, emerging theatrical, yet conversational.
Photos by Ashley Garrett
The piece is acted in street clothes with only a folding conference table and chairs.
Bedlam presents
The Assassination of Julius Caesar AS Told By William Shakespeare And George Bernard Shaw
Adapted, Directed, and Designed by Eric Tucker
The West End Theatre
263 West 86th Street
Through April 7, 2024
