Reviews of Julius Caesar
Produced at New Theatre, Miami in July 2007
REVIEWS OF JULIUS CAESAR
1)
2)
3)
4)
Sun-Sentinel
Miami Herald
The Edge
Sun-Sentinel capsules
sun-sentinel.com/entertainment/stage/sfl-thcaesarnbjul19,0,2950776.story
South Florida Sun-Sentinel.com
We come to praise New Theatre's Caesar
By Dan Hudak
Special Correspondent
July 19, 2007
In all of William Shakespeare's plays, arguably no single scene requires more stage
presence and acting power than the one that occurs shortly into the second half of Julius
Caesar, now at New Theatre in Coral Gables.
After Caesar's murder by a group of conspirators led by Brutus and Cassius, Brutus
stands near the body of the beloved general and insists that he committed the murder
because he "loved Rome more" than he did Caesar. Unexpectedly, he wins over the
chanting hordes of angry spectators before yielding to the eulogy of Caesar's friend,
Mark Antony.
"Friends, Romans, countrymen, lend me your ears," Antony begins, and listen they do
as Antony frequently calls Brutus "an honorable man" while subtly convincing the
people that he's a liar and a traitor. Antony never calls for action against Brutus, instead
choosing to extol the virtues of Caesar and allowing the people to see the tragedy in his
death. This is a brilliantly written and paced scene that James Randolph (Brutus) and
Christopher Vicchiollo (Antony) wonderfully bring to vivid life in the troupe's annual
summer Shakespeare and Friends series.
Fittingly, given the diminutive size of New Theatre's stage and the scale of the
production, the acting is the most prominent aspect of the show, and director Roberto
Prestigiacomo's talented ensemble does not disappoint. Although at least six actors
(including New Theatre regulars Annemaria Rajala, Barbara Sloan and Steve
Gladstone) play more than one character, it's never confusing and all are able to shift
gears convincingly.
Randolph and Vicchiollo are solid throughout, and Stephen Neal is the epitome of
malice as Cassius — note the devious glances he offers the audience as he walks to the
stage. Larry Robinson is likable as Caesar, although the title character is at best a
supporting player, given that he's dead before intermission.
K. Blair Brown's costume design doesn't exactly scream ancient Rome, but the togas
and sandals are enough to put us in the era.
It was the goal of New Theatre's founding artistic director, Rafael de Acha, to work
through Shakespeare's entire canon. In the case of the lesser-known and underwhelming
Cymbeline, which the theater produced earlier this summer, sometimes you simply have
to do what you have to do. Fortunately Julius Caesar is a much better play, and kudos
to the actors and crew for a job well done.
Dan Hudak is a freelance writer in Miami.
On Stage
Julius Caesar
Shakespeare's tragedy, through Aug. 5 at New Theatre, 4120 Laguna St., Coral Gables.
Shows 8 p.m. Thursday-Saturday, 1 p.m. Sunday. Tickets $40. Contact new-theatre
THEATER REVIEW
Julius Caesar
Posted on Tue, Jul. 17, 2007
BY CHRISTINE DOLEN
cdolen@MiamiHerald.com
From its opening moments until the bloodbath just before intermission, New Theatre's
new production of Julius Caesar is adrenaline-rush Shakespeare.
Director Roberto Prestigiacomo's 2 ½-hour adaptation of one of the Bard's great
tragedies is intense, intriguing, sometimes thrilling, right up to the point of Caesar's
assassination.
The second production in this summer's Shakespeare & Friends Festival, like any largecast play, presents an enormous staging challenge. New Theatre's narrow space, with
just 100 (brand-new and very comfortable) seats, is made for dramatic intimacy. Julius
Caesar, with its many locations, multiple characters (13 actors play nearly 30 roles) and
Roman grandeur, cries out for more -- more actors, a fatter budget, a bigger world.
Within those constraints, Prestigiacomo's achievement in the plotting/assassination
portion of the play is impressive. He has cast the key roles well, with actors who deftly
handle the language so that it never becomes an impediment to feeling the power of
Shakespeare's story.
Larry Robinson plays the title role with a relaxed command and the frequent smile of a
man susceptible to flattery, but the dramatic opportunities are juicier for James S.
Randolph as Marcus Brutus and Stephen Neal as Cassius. Both men deliver -Randolph with a tormented version of the friend who agrees to slay Caesar for the good
of the republic, Neal as an unscrupulous man both envious and ambitious.
And there are sporadic moments of just-right dramatic tension from a few of the other
actors: Christopher Vicchiollo during Marcus Antonius' famous ''friends, Romans,
countrymen'' speech at Caesar's funeral, David Perez Ribada as the plotter Casca,
Meshaun Labrone Arnold as a smugly manipulative Decius Brutus, Annemaria Rajala
as Brutus' tormented wife, Portia.
Sound designer Matt Corey makes a major contribution to the production with
unsettling music, the metallic collisions of swords in battle, the raucous roar of an
angry crowd.
Christine Dolen is The Miami Herald's theater critic.
July 15, 2007
Julius Caesar
by Jeremiah Tash
EDGE Miami Contributor
Rome. The Eternal City! A hip, swingin’ place to be
in 44 B.C., unless you were a Christian, Jew, or
slave.
Shakespeare’s famous history play opens on a
celebration for Caesar, the new de-facto Roman
pack-leader, fresh off a victory over Roman general
Pompey. Caesar arrives at the party with his
entourage in tow: Cassius, Marc Anthony, Octavius,
and his main man, Brutus. Cassius pulls Brutus
aside at the party and opportunistically strokes
Brutus’s ego. Brutus acknowledges the compliment
and voices his consternation regarding how the
republic will react to Caesar’s ascension to king.
When Cassius and Brutus are informed that Caesar
fainted while being offered the crown by Marc
Anthony, a conspiracy to murder Caesar is set in
motion.
Much like a good Horoscope, a soothsayer
forewarns Caesar "Beware the Ides of March,"
Larry Robinson, left, as Caesar and James which basically means "Don’t leave the palace and
S. Randolph as Brutus in Julius Caesar.
go to the Senate. This admonition is bolstered when
Caesar’s wife, Calphurnia, has a nightmarish premonition. Caesar initially (and smartly)
decides against going to the Senate, but he quickly waffles on the issue-giving in to vanity
and ambition - and his fate is sealed. Cassius and Brutus show their deference for Caesar by
personally stabbing him on the senate floor and not simply hiring a gang of juvenile
delinquents to do it for them.
While Act One revolves around the deed of murder, Act Two delineates the fall-out and
repercussions inherent in gutting a political system, both literally and figuratively. Cassius and
Brutus squabble like magpies; Marc Anthony plots to avenge Caesar’s murder; and there is a
general state of "uncoolness" within the Roman Empire. Brutus and Cassius may consider
themselves "honorable men," but in the world of Shakespearean tragedy, these villainous
traitors have no hope of a pardon. If protagonists such as Romeo, Juliet, and Othello all bite
the dust you know the two-headed monster of Cassius and Brutus will get their comeuppance.
The New Theatre’s production of Julius Caesar is competent and convincing. Shakespeare
can be extremely difficult for actors to pull off without contriving (ask Mel Gibson), but the
principle actors were all up to the task. As Cassius Stephen Neal is formidable; A
Shakespeare veteran, he’s clearly in control of his characterization, keeping it from becoming
a two-dimensional burlesque. Christopher Vicchiollo’s Marc Anthony is, in some ways, the
play’s most crucial character: his speech at Caesar’s funeral rallies a revolt against murders
Cassius and Brutus. Vicchiollo deftly delivers his the famous lines with the discipline of a
soldier, which makes sense because the real Marc Anthony was a General. Larry Robinson
(Caesar) nails the King-to-be’s ambition and appreciation of flattery, but slightly under-sells
his regal majesty (perhaps intentionally). But the star of the show is James S. Randolph as
Brutus, the infamous traitor and Caesar-stabber. Randolph never falters; he commands and
holds the audience’s attention without telegraphing Brutus’s thoughts or intentions.
The weak link in the play was the costumes-they looked like Medieval Times had a garage
sale - but if you ignore the distracting outfits and give this low-budget play some slack you will
most likely enjoy this Julius Caesar. And that’s pretty hip.
Larry Robinson, left, as Caesar and James S. Randolph as Brutus in Julius Caesar.
Rome. The Eternal City! A hip, swingin’ place to be in 44 B.C., unless you were a Christian,
Jew, or slave.
Shakespeare’s famous history play opens on a celebration for Caesar, the new de-facto
Roman pack-leader, fresh off a victory over Roman general Pompey. Caesar arrives at the
party with his entourage in tow: Cassius, Marc Anthony, Octavius, and his main man, Brutus.
Cassius pulls Brutus aside at the party and opportunistically strokes Brutus’s ego. Brutus
acknowledges the compliment and voices his consternation regarding how the republic will
react to Caesar’s ascension to king. When Cassius and Brutus are informed that Caesar
fainted while being offered the crown by Marc Anthony, a conspiracy to murder Caesar is set
in motion.
Much like a good Horoscope, a soothsayer forewarns Caesar "Beware the Ides of March,"
which basically means "Don’t leave the palace and go to the Senate. This admonition is
bolstered when Caesar’s wife, Calphurnia, has a nightmarish premonition. Caesar initially (and
smartly) decides against going to the Senate, but he quickly waffles on the issue-giving in to
vanity and ambition - and his fate is sealed. Cassius and Brutus show their deference for
Caesar by personally stabbing him on the senate floor and not simply hiring a gang of juvenile
delinquents to do it for them.
While Act One revolves around the deed of murder, Act Two delineates the fall-out and
repercussions inherent in gutting a political system, both literally and figuratively. Cassius and
Brutus squabble like magpies; Marc Anthony plots to avenge Caesar’s murder; and there is a
general state of "uncoolness" within the Roman Empire. Brutus and Cassius may consider
themselves "honorable men," but in the world of Shakespearean tragedy, these villainous
traitors have no hope of a pardon. If protagonists such as Romeo, Juliet, and Othello all bite
the dust you know the two-headed monster of Cassius and Brutus will get their comeuppance.
The New Theatre’s production of Julius Caesar is competent and convincing. Shakespeare
can be extremely difficult for actors to pull off without contriving (ask Mel Gibson), but the
principle actors were all up to the task. As Cassius Stephen Neal is formidable; A
Shakespeare veteran, he’s clearly in control of his characterization, keeping it from becoming
a two-dimensional burlesque. Christopher Vicchiollo’s Marc Anthony is, in some ways, the
play’s most crucial character: his speech at Caesar’s funeral rallies a revolt against murders
Cassius and Brutus. Vicchiollo deftly delivers his the famous lines with the discipline of a
soldier, which makes sense because the real Marc Anthony was a General. Larry Robinson
(Caesar) nails the King-to-be’s ambition and appreciation of flattery, but slightly under-sells his
regal majesty (perhaps intentionally). But the star of the show is James S. Randolph as Brutus,
the infamous traitor and Caesar-stabber. Randolph never falters; he commands and holds the
audience’s attention without telegraphing Brutus’s thoughts or intentions.
The weak link in the play was the costumes-they looked like Medieval Times had a garage
sale - but if you ignore the distracting outfits and give this low-budget play some slack you will
most likely enjoy this Julius Caesar. And that’s pretty hip.
Capsule reviews: mini critiques of plays,
musicals and area stages
August 3, 2007
Compiled from full reviews bySun-Sentinel critic Jack Zink (J.Z.) and special
correspondents Mary Damiano (M.D.) and Dan Hudak (D.H). For schedules,
seetheater calendar.
Julius Caesar — The New Theatre troupe brings to vivid life the Shakespeare classic
about the Roman dictator, a bloody drama that explores political intrigue, assassination
and war. It's brilliantly paced and performed. Through Sunday in Coral Gables. — D.H.
The Kid From Brooklyn — Brian Childers turned pro as an actor portraying no less an
icon than Danny Kaye, and won Washington's Helen Hayes Award as best actor for his
efforts. He's still doing that song and dance six years later, to the glee of fans. Childers'
latest vehicle premiered a year ago at the Broward Stage Door in a co-production with
New Jersey's Forum Theatre. The show reopens tonight at the Maltz Jupiter Theatre
largely intact, with two supporting cast replacements. It's a sprightly slice of the
entertainer's life that culminates in his return to wife and daughter, with a tip of the hat
to a 40-year happily-ever-after professional and family life. The song-and-dance
material is chosen, choreographed and played well. And the acting is first-rate by
Childers and Karin Leone as Kaye's devoted but domineering wife, Sylvia Fine. Kudos
to the three-piece band and Mark Baron's musical arrangements, and to the sets, which
depict a cluttered backstage area but double nicely for various locales. Through Sept. 9
in Jupiter. — J.Z.
A Marvelous Party: The Noel Coward Celebration — Though not quite the marvelous
event of its title, this soiree is a witty and, at times, poignant retrospective of the famed
showman's music hall talents. Through Aug. 19 at Florida Stage, Manalapan. — J.Z.
The M.O. (Modus Operandi) of M.I. (Male Intimacy) — Despite its title, the play says
nothing new about the subject, treading familiar territory in the dark underbelly of
human relationships to show what happens when romance becomes a business
transaction. It has sex, drugs and money but lacks thrills or a plausible story to hold it
all together. Through Aug. 26 at Sol Theatre Project, Fort Lauderdale. — M.D.
Side by Side by Sondheim — Glossy revue mounted from the composer's earlier works,
including Company, Follies, A Little Night Music, A Funny Thing Happened on the
Way to the Forum, West Side Story and Gypsy. The show will likely sing for you if
you're already a member of the choir. Through Aug. 26 at Palm Beach Dramaworks,
West Palm Beach. — J.Z.
The Taffetas — This throwback dating to a nostalgia craze in the late '80s is a sugary
blend of musical memories from the hit parades of the mid-'50s. The revival of the
revue at the Stage Door is directed and choreographed with simple flair by the theater's
former full-time artistic director, Dan Kelley. Through Aug. 12 in Wilton Manors. —
J.Z.
Tom Foolery — Actors' Playhouse once again revives the smart, savvy musical revue
by Tom Lehrer that satirizes culture and politics circa the '50s and '60s. Four singers
yuk it up between songs with commentary about the times and the topics as well as
about Lehrer himself, who retired from show biz in the early '70s. But time has
marched on. What the world needs now is a sequel, not a revival. Through Sept. 2 at
Miracle Theatre, Coral Gables. — J.Z.