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Photo
by Fotogroup for
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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.
