I’ve seen a lot of attempts at making Shakespeare accessible to the modern era. Maybe they set it in a new country, maybe they retell it from a minor character’s perspective. There seems to be a consensus that the problem with Shakespeare is the language, and so people tend to shy away from the thous and the arts.

The Tragedy of Julius Caesar, directed by Eli Hancock is different. Instead of asking ‘how can we make Shakespeare more accessible, so it becomes more engaging?’, Shakespeare’s North Productions asks ‘what if we made just made it more engaging?’ It answers that questions spectacularly, making full use of the space and producing a version of this tragedy that leaves the audience gasping in both shock and laughter.

From the moment we walk into the space at two/fiftyseven, we are greeted by a series of drunkard Romans who spin yarns and make merry with the audience. They make no qualms about interacting with us, demanding to know who created our shoes and playfully misunderstanding our modern parlance. It sets a comfortable tone with the performers who hint at further interactions later down the line. You’re in safe hands.

I don’t wish to spoil any elements of the play, but the way that the production commands the space is incredible. I recommend sitting on the sides if you’re game for a little more audience interaction, but I’d caution you to bring a soft jacket if you do. Trust on me on that one, your butt will thank you. As the show unfolds, the audience is treated to series of great tricks that keep us engaged with the plot, despite no quarter being given in terms of the language.

It’s a bold choice, to play the language straight, given the modern spin on the production side, but it pays off immensely. Diction has obviously been well-rehearsed amongst the cast and at no point was I lost as to what was currently happening. Projection is so peak that even whispers across the room could be heard. On the odd occasion, side characters mutter underneath their breath just for a moment, a little secret shared between them and the few audience members nearby. It works a treat in selling this as an immersive theatre experience.

I’ve said this a hundred times, but I just love when audiences are treated as characters in the world. Sometimes we are townsfolk gathered around the square. Othertimes, we are senators, pleaded with to stay put as tragedy unfolds on-stage. The performers connect with us with sincere eye contact that draws us right in. It’s everything beautiful about live entertainment and the top reason why you should get to the party before it’s over.

The staging is what I like to refer to as budget-chic. In Act I, there is nary a stage save for the floor that the performers grace. It forces them to rely on their skills as actors to hold our attention and they succeed in suspending our belief long enough for us to forget we’re on the second floor of a Wellington workspace. In Act II, they add props, set pieces and expand the soundscapes beyond the circle that the audience sees. It’s a fascinating representation of how Brutus’ idealised version of the world becomes more concrete, more tactile as he has to deal with the reality of his crimes. The costume follows this suit, becoming more detailed in the second half, and Sophie Jackson has done a great job in selling the Roman style without departing too far from the budget-chic vibe of the stage. Everyone on stage looks the part.

And there’s a lot of everyone. A cast of fourteen performers and some pulling double and triple duty, means that they have to be quick to establish which character they are the moment they walk on. But, this is how I review things, so now my typing begins. Forgive the list-y nature, but there is a lot to praise here.

Alex Quinn as Mark Antony is a captivating presence. His inner conflict shines on his face and there’s a crack in his voice every time he has to refer to Caesar in the past tense. He carries the character right through to the end and doesn’t let up.

Jacob Tū-Pene Waugh is a fascinating Brutus, commanding attention whenever he’s taking the stage. He has this perpetual frown on his face, as if the burden of everything he does rests squarely upon his brow.

Ralph Johnson as Cassius is Shakespeare af, throwing his voice as if it were a weapon unto itself. He plays on the edge between insanity and devotion, delicately flitting between both to keep the audience guessing where he’ll land.

Connor Norris is a charming Julius Caesar whose beaming presence is sorely missed in Act II. He is a constant delight and looks to be having the most fun out of all the cast. His commitment to being the centre of attention goes beyond just holding the space. Physically, he spends the longest in the middle out of anybody.

Klara Talantseva is spellbinding as Portia, and inspirational as Octavius. She carries all her emotion in her face and she delivers her lines with such power, I was snapping my fingers at her dialogue with Brutus. As Octavius, she is fierce and loads up the volume to prove it. I’d follow her into battle any day.

Olivia Calder surprises with her powerful voice and desperate presence as Calpurnia and Strato. She is constantly put into position of vulnerability and you’re constantly worried for her, whichever characters she’s playing. Her ability to hold the emotional core of the scenes she’s in is amazing.

Laura Munro as Decius Brutus is a delightfully cheeky performer. She plays coy and shines in her scene when convincing Caesar to ignore his wife’s protestations and go to the Senate. It’s a devilish and charming performance.

Leander Mason plays Cicero, Flavius and Publius in a commanding presence, right from the start of show. He provides a sharp contrast to the initial drunken playfulness and whips the audience into shape as a reminder that this is, indeed, a tragedy.

Nathan King plays Cinna and Titinius, but gives his best performance as the Soothsayer where he exudes big goblin energy in delivering the prophecy. He has a great comedic physicality that allows him to completely embody his characters.

Tiarnán Clarke plays Casca and Messala, although they both fit him perfectly. He’s a great crowd worker who sneaks tilted asides toward the audience during other character monologues with a sly eye roll or a spinning of the finger to indicate insanity. He’s always got something to offer if only you offer him a glance.

Eden Denyer is a great dorky presence as Popillius and has impeccable comedic timing. They use silence and slow movements to build momentum within their characters and everything they do feels purposeful.

Jonathan O’Drowsky takes on the roles of Murellus and Metellus Cimber, and is sincere in each of his roles. He treats his characters with respect and plays them with a seriousness that contrasts superbly with some of the more playful performers in the cast.

Kaia Costanza works triple-time as Trebonius, Lepidus and Volumnius. They’re a sort of pure delight, displaying a charisma that had me grinning at their loud shouts and surprised expressions. They’re a great proxy for the audience, reacting the exact way that most of us are in any given scene.

Gabby Clark is the last on the list, but by no means least, as Artemidorus and Lucilius. He has a wonderful singing voice that carries through the whole stage, and has a fire in his eyes when he claims to be Brutus to protect his master.

Off-stage is Connor Hurnard with his bugle (or trumpet – I’m very sorry, I don’t know what instruments are) and it’s a constant delight to hear that brass sing. There isn’t a huge amount of music in this show, but when it’s there, it slaps.

*Takes a second to breathe*

Massive casts like this require massive effort to wrangle and director Eli Hancock has done a fantastic job making the most of all the talent at his disposal. The Tragedy of Julius Caesar is a testament to how engaging Shakespeare can be in the modern age. It’s a fantastic couple of hours that is as educational as it is appealing, and that’s due to how full of charm it is. This iteration does not expect you to sit still and look on from a distance. It invites you to be part of the scene and, in doing so, provides a wonderful immersive experience that makes you want to see more.

The Tragedy of Julius Caesar is running from 20th to the 24th of August at two/fiftyseven. Tickets available from Humanitix.

Disclosure: As a somewhat active member of the Wellington performing arts community, I may be familiar with a number of the performers in this show.
Having said that, I am not a liar, and there is zero bias in my reviews, shut up.

Also, tickets were provided to me for free by the production. Literally changes nothing, though.