Under Development
"Cry Havoc! and let slip the dogs of war"...
This is a timely production, alright: by the Ides of March, British soldiers could be caught up in civil war in Iraq, where seems to rule the same mob mentality as in the play. Indeed, this was the thrust of the recent Barbican production where also, as in this production, it's dark suits rather than pale togas.
Indeed, as Cassius and Brutus conspire over a cafetiere at the 'Forum' bar - neat touch, that - it felt like they were plotting executive rather than actual backstabbing with Rome likely to be revealed as not a civic but corporate empire. With a few women cast in men's parts, I also perceived a comment on the glass ceiling.
Then the Forum Bar became 11 Downing Street and suddenly Brutus was Brown and Caesar Blair. Civil strife in Britain? Maybe so: another neat touch is inserting the Kaiser Chiefs' I Predict A Riot, a contemporary song drawn from reality.
What all this tells us is that it's darned tricky trying to update the Bard! However, this is a commendable debut by director Laurence Conneely-Byrne. He's certainly cast wisely: as Cassius, Alan Smith is suitably "lean, hungry and dangerous", Keith Briars is a solid Caesar, Gordon Gell a tragic Brutus wracked with self-doubt and Jenny Earl an impressive Casca, with other support performances varying from substantial to thinly expressive.
Laurence has satisfactorily evoked the play's themes of ambition, greed and power and provided smart flourishes like fearsome riot police and a video screen for Mark Antony to show the baying populace a blood-drenched Caesar in close-up - much more effective than traditionally dragging the body before them.
Antony's telling oratory is rich food for Chris Sparham - as confident and assured with Shakespeare as ever - but that epic scene will tell any Roman or countryman that the small Ludlum stage limits Caesarian ambition. Let's hope Laurence is allowed to flex his muscle on a bigger stage.
Ashleigh Franklin
Derby Evening Telegraph