How to start reviewing a production like a two person version of Shakespeare’s Julius Caesar? Why is it even necessary  to stage such a minimalist production? The programme offers several suggestions, mostly to do with theatre funding (or rather its paucity) but also simply because they can. And for the most part they do, and do so very successfully. Everything in the lovely Hanover Hall venue is simple. The set, designed by Matthew Lang, consists mainly of two opposing doors covered in foil. The two performers, Josiah Morgan and Elisa Jones, play nine characters while a very busy third person, Khalil Qualls, becomes citizens, soldiers and extraneous others as required whilst also being the production’s director, stage manager, technician and designer of versatile toga-style costumes. 

Some parts of the performance work brilliantly. I particularly like Morgan’s contrasting two characters, Brutus and Cassius. He switches between these with ease using stature, voice and movement in such a way that it is always clear who is talking, even in the middle of an argument between the two. It’s obvious that he not only understands all that he is saying, he wants and is able to ensure that we can all understand it too  – not something that always happens even in fully professional companies! His Brutus is upright, a good man troubled by the conflict between his love for his much admired friend, Julius Caesar, and his ultimately greater love for his Rome and its citizens. By contrast, Cassius is a more snivelling character, wily and whiny as he persuades Brutus to do what he, Cassius, considers to be best for Rome – and Cassius. (This characterisation doesn’t really work for me because I have always seen Cassius  more as a cold and clever, unemotional manipulator of people.)

Elisa Jones’ task is more difficult because she has to play so many diverse characters. I understand why all, not just the wives, Portia and Calpurnia, are women, but it does take some time for me to reconcile my mental images of Julius Caesar and Marc Anthony especially with what I am seeing and hearing on stage. Having said that, it is these two characters that stand out for me, notably in the powerful stance (and dying!) of Caesar and the best version I have ever heard of Anthony’s “Friends, Romans , countrymen…” speech. This is done very cleverly, so deviously, keeping to the imposed  requirement  that Anthony should speak no ill of the assassins whilst at the same time inciting the mob to a frenzy of greed and retribution . (Echoes of what is happening in a certain other country even today?)  Shakespeare’s words tell the story but Elisa Jones’ delivery is a beautifully honed mix of grief, pathos, disdain and disgust that ultimately and inevitably turns the gathering  into  a mob.

The two wives are also well contrasted; Calpurnia is a fearful, wimpy little thing whilst Portia is a woman who is more equal to her powerful husband, feels passionately for him and shows her anger when she hears her concerns for him being dismissed. This is not the gentle, loving Portia that I have always imagined but a version that works well.

What does not work so well for me are the two Cinnas and Octavius Caesar. All appear to be similarly flighty and flirty, a characterisation that is interesting in the first half of the production when only Cinna the assassin is present but becomes a little confusing when all are around. Perhaps Octavius could be a little more spoiled-bratty and less teenage would-be rock star?

These are small quibbles, however. Overall, this is an excellent production that I would encourage lots and lots of people to see, if not in Dunedin then whenever, wherever it is next performed. I would also encourage some angels with deep pockets to support this hardworking, intelligent and very hardworking team of people to produce even more accessible, small cast Shakespearean masterpieces. I’ll look forward to seeing them.

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