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Peter Evans’ production of Shakespeare’s tragedy deployed his (apparently-trademark) fascination with Meyerhold’s movement technique to haunting effect. The actors would coalesce and scatter across the stage, ringed by black office chairs and a Roman column, slowing down – almost to a stop – as they reached the other side, and then continuing off. Caesar’s assassination was a rare moment of poetry – handfuls of white powdered milk thrown in place of knives, actors jumping and throwing each other away from the stabbed emperor. Reminiscent of modern politics, Kate Mulvany’s Cassius and Colin Moody’s Brutus stole the show, and it was a rare example of a production which intelligently captured the current political mood in such a raw, poetic and theatrical way that you couldn’t help but make this tragedy exciting and profoundly gripping.