Behind the Shakespeare scenes

Caesar (La Boite Theatre Company)

La Boite Theatre, Roundhouse Theatre

July 23 – August 7

“Welcome Julius Caesar” we see posted on a side-of-stage whiteboard before La Boite’s world premiere contemporary reimagining of Shakespeare’s political thriller “Julius Caesar” fills the space.  As the show begins, there are notices added, a rack of costumes wheeled into place and hand props put in the required locations of their table by the stage manager of the obviously play within a play, Billy Fogarty. Soon, the actors being arriving for their first rehearsal. Chenoa Deemal, Giema Contini, Bryan Probets and Will Carseldine, who are all playing versions of themselves, peel in with praise as to each other’s previous performances. It is an immediately engaging and very funny foreshadow of what is to come, with nods made not only to their respective bodies of work, but also the traditions of the stage courtesy of the Scottish play superstitions et al.

While some scenes from Shakespeare’s tale of a self-absorbed politician and the men conspiring against him appear within the ensuing rehearsals, examination of the complicated, traditionally-masculine work occurs through what is going on around its fringes, which opens up access to the text to the youth audience to which it is particularly pitched. In fact, we never get to see any of the company’s in-season performance of their take of the classic play, climate change angle and all.  When Bryan and Giema rehearse as the eponymous statesman and his traditionally submissive wife Calpurnia, tech week tensions heighten to a clash of creative approaches that reveals much more than just differences in is their processes, leaving us to ponder if perhaps Caesar is not the only potential beast without a heart. 

Like its source material, “Caesar” is about power structure, duty, honour and responsibility, all of which have relevance in a contemporary society, especially when applied to the idea of diversity and representation on stage. And when things fast forward to a post show-within-the-show discussion, we get the funniest scene of all, not just in its initial clichéd questions and answers, but its escalating chaos after exposé’ of outdated attitudes and the use of overly familiar language. In particular, the TikTok livestream of the collective discussion is absolutely hilarious in its every authentic detail as it swells towards calls for Caesar to be slain.

References from the Shakespearean play are peppered throughout “Caesar”. Recent drama school graduate Will, who is playing Brutus, considers Bryan to be a North Star, in ignorance of how Giema and particularly Chenoa feel about his automatic assentation to the lead role. And while monologues from the psychological drama feature within the work, it is one in which Chenoa decries the tone-deafness of prima dona Bryan that leaves the most lasting impression as Deemal powerfully summarises her character’s feelings in relation to worth and about how she is seen.

While clearly catering for a youth market, “Caesar” offers much for audience members of all ages to appreciate, thanks to the collective efforts of its talented cast, support by slick sound (Anna Witaker) and video (Justin Harrison) design. More than a riff of Shakespeare’s play-within-a-play trope, this is one of the most meta shows you are likely to ever experience. Its five fierce non-binary and female-identifying playwrights (Claire Christian, Jean Tong, Megan Wilding, Merlynn Tong and Zoey Dawson) have crafted a clever and entertaining clap-back that is fresh and funny, especially for those familiar enough to appreciate the Tiktok feed contributions from Hugh Parker fans, for example.

With themes of power, politics and the patriarchy, there is lots going on in “Caesar” and while its five distinct acts have strong independent voices, this leaves the work feeling more as a sum of its parts than a cohesive whole. Still, under Sanja Simić’s swift direction, it captures audience attention immediately and maintains it well into its 90-minute duration. More than just illustrating the heartbeat to Shakespeare’s words, “Caesar” asks its audience to consider what these words do. And refreshingly, its challenges about representation, politicisation and gender in the theatre are clear without being blatant, instead provoking critical thinking that continues beyond even the play’s conclusion.

Photos c/o – Morgan Roberts Photography