Power and popularity have swelled the head of Julius Caesar (Roland Royal III). His childhood friend, Cassius (Samya De Meo) and bosom ally, Brutus (Remiel Farai) are concerned that Caesar’s dictatorial inclinations threaten the future of their beloved Rome. Deciding that one man should die for the good of the many, Brutus, Cassius and conspiring senators play god with Caesar’s life. Persuaded by his compatriots’ adulation and of his own invincibility, Julius ignores the ominous predictions of the eccentric soothsayer (Yaw Osafo-Kantanka) and his anxious wife, Calpurnia (De Meo).

Touring all-Black theatre company, Tangle put their distinctive, multi-lingual stamp on one of Shakespeare’s best known and oft-quoted historical dramas. From the opening scene, with the sole mysterious figure of Osafo-Kantanka’s acrobatic soothsayer leaping to life with exerting choreography, there is no let up. Director, Anna Coombs took on the intimidating task of reducing a play of 47 characters to 11, divvied up between five extremely capable actors.  It wasn’t simply a decision based on production costs. With a streamlined adaptation…‘…the pace becomes electric…’ Coombs rightfully observes.  The up and coming cast rise to the challenge and then some with assured and captivating performances. 

Chicago-native Royal’s Caesar is enigmatic and suitably full of swag; not a lot of stage time but exuding the kind of braggadocio that could understandably rub some up the wrong way.                  

Farai and De Meo are magnetic, although on opposite ends of intensity. Farai’s (very sculpted) Brutus is measured, quietly convinced of the righteousness of his grizzly mission. De Meo’s Cassius – purposefully feminised in Tangle’s interpretation – bristles with agitated energy; her envy and resentments dressed up as noble utilitarianism.  Ahmed’s Marc-Antony, somewhat a background and frivolous figure for much of the play, owns Act Two with his subtly commanding stage presence. The actor’s mellifluous voice has a nigh-hypnotic effect as he delivers Antony’s infamous funereal monologue. It’s all the more impressive given that he’s often competing with the soothsayer’s frenzied movements and Twi-language call-and-response, the willing audience co-opted into participating as Roman citizens.

Colin Falconer’s modest set makes imaginative use of its stark metallic frame and strategically placed strobe illumination, occasionally lighting up to reinforce the play’s stubborn foreboding.

Tangle’s Julius Caesar thus concludes a whirlwind national autumn tour at London’s Omnibus Theatre in triumph.

Personnel:

Adapted and Directed by Anna Coombs

Set and Costume design – Colin Falconer

Costume Associate – Linda Mafuba

Lighting – Jordan Harris

Composer – John Pfumojena

Choreographer – Bawren Tavaziva

Director of Producing – Kirsty Reilly

Cast (in alphabetical order):

Samater Ahmed – Marc Antony

Samaya De Meo – Cassius/Portia/Calpurnia

Remiel Farei – Brutus

Yaw Osafo-Kantanka – Soothsayer

Roland Royal III – Julius and Octavius Caesar/Cinna

Learn more about Tangle Theatre’s adaptation of Julius Caesar here

This review also appears on the I Was Just Thinking…blog