Canberra Theatre came alive with the story of Julius Caesar, a world-renowned exploration of power, corruption, and betrayal. One of Shakespeare’s most well-known works, Julius Caesar is a story about ambition and the fine line between ambition and control. What happens when someone reaches for overwhelming power? In this production, a political response with plenty of bloodshed.
“Bell Shakespeare's Julius Caesar is regal and expertly crafted.”– FUSE Magazine.
The production follows the growing unrest around Caesar’s rising power, and his bloodied downfall. The central debate centres around whether Caesar, played by Septimus Caton, is the right choice for leadership. They question whether his ambition threatens the stability of Rome.
It is not clean-cut. While Cassius, played by Leon Ford, clearly believes that Caesar must be killed, Brutus, played by Brigid Zengeni, feels torn between love for Caesar and love for Rome. However, throughout the play, Cassius convinces her that Caesar cares more for himself than for Rome.
“Therefore think him as a serpent's egg, which, hatch'd, would, as his kind, grow mischievous, and kill him in the shell,” says Brutus, arguing that Caesar needs to be stopped before his power becomes overwhelming.
The play draws its emotional weight from the love the characters have for each other and the different ways that love is expressed. Brutus loves Caesar and therefore struggles with the question of whether violence can be justified in the name of the greater good.
I also enjoyed the choice to gender-swap Brutus and present the relationship between Brutus and her wife as queer, which added a beautiful and unique layer to the production. It was engaging to see the love story between Brutus and her wife, and the contrast between Caesar and his wife.
Overall, the acting was excellent. The actors brought a tense, dark story to life, making Shakespeare’s language feel vivid and alive on stage. Shakespeare’s language can be difficult to understand, and the cast handled the script exceptionally well. They spoke with clarity and emotion, and their facial expressions and body movements sealed the deal. Monologues from Brutus, Cassius and Antony provided clear insights into their minds and thoughts and pulled the audience in emotionally.
I appreciated the interspersion of comedy throughout: sporadic relief from the overall intensity of the play. My only suggestion was that some of the actors could have projected their voices more strongly at times.
As ever, Canberra Theatre offered the ideal venue for it. Inspired by Eastern Europe in the 1990s, it was decked out in rusty red and charcoal, with old-school umbrellas and leather couches. It was a well-crafted backdrop, and throughout the play, the decorations were smoothly moved around. I appreciated the decorations in the second half of the play. Radios and camouflaged tents added vibrance to the stage and made it visually engaging.
The costuming was equally effective. At the start, the characters appeared in crisp white suits, which created a stark contrast against the dark crimson surroundings. As the production progressed, these suits became stained with blood, making the violence feel even more confronting and symbolic. We could literally see the blood on their hands.
As with the decorations, there was a clear shift in the costuming of the second act, where they introduced camo gear. This added to the sense of escalation and conflict.
It was highlighted that the play occurred in BCE, however, the costumes ranged from Roman styles to modern. I appreciate the concept of modernisation; however, the time period was occasionally lost on the audience, especially given the use of modern props. Perhaps the production aimed to signal that this conflict can happen at any time and is not locked to a specific time period.
The production made excellent use of lighting and sound. Thunderstorms, announcements of character deaths, and other dramatic sound cues added intensity and atmosphere, helping to draw the audience deeper into the world of the play. I adored the use of weather-related signalling – it added depth to the production and kept the audience on the edge of their seats.
Ultimately, Julius Caesar was regal, compelling, and expertly crafted. It transported the audience into a world of political conflict and inner turmoil through the world of Shakespeare.
★★★★☆
JULIUS CAESAR BY BELL SHAKESPEARE TOUR DATES
Canberra Theatre
10 April - 18 April 2026
Arts Centre Melbourne
23 April - 10 May
By William Shakespeare
Director Peter Evans
Set Design by Peter Evans
Lighting Designer Amelia Lever-Davidson
With Leon Ford and Brigid Zengeni
