The Stage

Julius Caesar

Published Friday 9 September 2005 at 16:50 by John Thaxter

The Lyric’s new artistic director David Farr brings in his RSC touring version of Julius Caesar, first seen on the road last autumn. Set in a crumbling East European police state, it crackles with political energy against a fizzing soundtrack by Martin Slavin that starts and finishes with ear-splitting bangs - part of Farr’s mission to make classic theatre resonate with broad modern audiences.

Not one noble Roman is in sight. Plebs and back-stabbing patricians all dress down in contemporary gear for villainous action, headed by Christopher Saul’s bruising Caesar, getting too much above himself for the good of the local mafiosi. Zubin Varla’s curiously mannered Brutus, with a flat Olivier-like high-pitched delivery is no liberal idealist but a nervy false friend with a dazzling trophy wife in the shape of Rachel Pickup’s self-harming Portia.

Stronger performances come from Adrian Schiller, whose angry malcontent Cassius suggests an ambitious union activist, while Gary Oliver, riveting in the funeral oration, breaks the ‘good guy’ mould of Antony as he coolly tears up Caesar’s will moments after it has served his devious purpose.

Designer Ti Green’s twin tower climbing frame displays factional flags and video projections that give us multi-image views of the speech-making crooks, coupled with onstage techies and ASM cast members, pressing buttons or clutching handheld spots to highlight the developing action. And among several collectors’ moments the most surprising is Andrew Melville’s Cinna the Poet doing a cabaret turn to welcome war, with a couple of high-kicking tarts a la Joan Littlewood.