A.R.T.'s Modern 'Julius Caesar' Says It Right

The American Repertory Theatre’s (A.R.T.) production of Shakespeare’s “Julius Caesar” is not the play that many studied in high school; it is instead a contemporary piece of political commentary. French director Arthur Nauzyciel’s interpretation departs from more traditional readings of the text and presents a modern visual interpretation that attempts to create something altogether new. In this new production, which will run at the A.R.T. until March 16, Nauzyciel modernizes the fight for democracy and political power in ancient Rome by allowing the audience to connect the themes of this 400-year-old play to issues facing our community and country today.

Most significantly, Nauzyciel elevates Brutus’ servant Lucius from a small role to the focus of the production, transforming him into a deaf-mute boy who sees the play’s characters, already dead, reenacting their lives in his dreams. Lucius remains onstage for the entirety of the performance, sometimes watching passively and occasionally reacting vigorously to the acts committed before him.

In his director’s notes, Nauzyciel states that “if the future of the world is Lucius’ vision, then everything changes.” In a play where omens and dreams serve to warn the characters of coming revolution, this production encourages the audience to interpret Julius Caesar as parallel to the tribulations of our own culture.

The creativity and innovation of Nauzyciel’s production allows the audience to enter into the turbulent emotions and thoughts of the characters. A jazz trio stationed on the corner of the stage interprets the emotional state of the players throughout the performance, constantly pulling the audience in. The set itself allows the audience to become part of the production. The performance is set against a painted backdrop depicting a mirror image of the audience—but with empty chairs. During the play’s famous funeral oratory, no actors are on stage except for Antony, Brutus, and Lucius, effectively making the audience play the part of the Roman citizens.

The production is highlighted by some solid acting. Thomas Derrah, a dramatic arts lecturer at Harvard, nails the confident and fearless Caesar, who is devastated when betrayed by his close friend Brutus. Sara Kathryn Bakker shines brightly with a convincing Portia, blending the character’s tender devotion with her strong will as she attempts to get Brutus to let her into his thoughts. But the difficult-to-master complexity of Brutus is not quite reached in Jim True-Frost’s performance. Though the performances are solid, however, the acting takes a back seat to the imaginative staging elements: the aforementioned jazz trio, details like a Chevy hanging from the ceiling, and even some bizarre costuming decisions (Lucius’ in a homebrewed Superman getup).

The artistic direction and the choreography of the actors’ movements create a stunning visual image. A shocking moment comes at the conclusion of the play when the dead suddenly rise up with bloodied garments and open a bottle of wine in celebration. This is shortly followed by the entire cast line dancing to Nelly Furtado’s “Say It Right.” Although I was at first skeptical of Nauzyciel’s decision to conclude the performance with a modern day pop song, I found, to my surprise, that the lyrics were quite fitting with the story of “Julius Caesar.” This choice underscores Nauzyciel’s approach to the production. Although the heavy focus on musical and artistic elements detract from the strength of the acting, this is a performance that never fails to engage the audience both visually and intellectually.