The Queensland Shakespeare Ensemble’s 2024 production of Julius Caesar transformed the Bard’s iconic political tragedy into a high-octane theatrical event. Performed at the newly refurbished Avalon Theatre at UQ, the show’s unique approach combined Shakespearean drama with modern sports culture to tell a timeless tale of ambition, betrayal, and political upheaval.
After an unfortunate (and entirely out-of-the-company’s-hands) 30-minute delay, the audience was transported to an ancient Rome reimagined as a sports arena. The set, designed by Brigitte Bennett, cleverly utilised a sports-field-inspired layout that blurred the lines between ancient Rome and contemporary competition. The inclusion of a thongophone—a PVC pipe xylophone—was an unexpected delight, with cast members taking turns to create live music. This unique instrument added a layer of creativity that set the production apart from traditional interpretations and underscored the raw tension of the unfolding drama. The costumes, designed by Harmony Barath, echoed the sports theme with team-style uniforms and war paint, contrasting with the plastic weaponry used as props.
Director Rob Pensalfini brought the story to life with energy and the small cast of 11 deftly managed multiple roles, using slight costume changes to signify their transformations. While the Australian accents may not have been to everyone’s taste, they undeniably offered a spin on the classic, grounding the story in a way that felt immediately relevant.
Rebecca Murphy’s portrayal of Cassius was particularly riveting—her fiery projection and piercing gaze captured the character’s manipulative brilliance. Her back-and-forth with Liliana Macarone as Brutus created some of the play’s most compelling moments, particularly during their heated debates about loyalty and honour. Macarone brought an aching humanity to Brutus, her delivery of the character’s moral struggles leaving a lasting impression.
The standout performance came from Frances Marrington as Mark Antony. Her portrayal of Antony’s grief and cunning manipulation was captivating. The funeral speech scene, in which Antony incites the Roman citizens against the conspirators, was a masterclass in dramatic tension and emotional delivery. Marrington’s ability to navigate Antony’s two-faced nature—mourning Caesar while slyly stoking the flames of rebellion—was exhilarating and layered.
Lillian Duggan commanded the stage as Julius Caesar, embodying the leader’s charisma and hubris with haunted intensity. Leah Mustard as Portia delivered a heartfelt performance, particularly in her impassioned plea to understand her husband Brutus' inner turmoil. Mikala Crawley’s Calpurnia was equally compelling, her pleas laced with urgency and dread as she begged Caesar to heed her warnings. Riley Anderson stood out in the ensemble as one of the Roman citizens by adding humour and modern relevance.
The cast’s commitment to Shakespeare’s dense language was commendable, and their ability to convey meaning through context, props, and tone made the story accessible even when the dialogue grew complex. The clever use of a screen at the back of the stage helped to orient the audience, displaying maps, timelines, and character details styled like sports team stats.
Thematically, Julius Caesar felt eerily timely, with its exploration of political power plays and mob mentality echoing issues in our own world. This was a bold and imaginative production that balanced innovation with respect for Shakespeare’s work, offering a wonderful experience for both seasoned Shakespeare fans and newcomers alike. With their 2025 season already in the works, anticipation is high for what the Queensland Shakespeare Ensemble will tackle next!
Comentários