Review: All Hail! Trinity Opens 2015-16 Season with Commendable JULIUS CAESAR

Trinity Repertory Company kicks off its season in style with a smart, gripping production of William Shakespeare's Julius Caesar.

This play is a fitting selection heading into an election year; across the United States, each day's headlines are flooded by the words and deeds of would-be presidential candidates, and so Trinity's choice of a modern-day setting (including the use of video projection to mimic real-time news broadcasting) gives its Julius Caesar relevance and relatability. Though Caesar's lines span centuries of time, dialogue and debate over the scope of governmental powers, individual liberties, and contrasting ideologies resonate strongly today and grant immediacy to Shakespeare's words.

Casting Anne Scurria in the title role only heightens the connections with modern politics. Though Caesar being female is certainly not the only or the defining factor inciting rebellion, the Conspirators' core argument against Caesar's "ambition" assumes another level of meaning when gender becomes a contributing factor. Speaking to Brutus, Brian McEleney's Cassius bitterly recounts witnessing a number of Caesar's past physical weaknesses (whether from illness or fatigue), then all but spits out the line "And this woman is now become a god."

Scurria indeed makes for a convincing Caesar. She carries herself through each scene with determination and self-possession, as though invisible laurels grace Caesar's brow. There is strength in her portrayal as well as heart; the audience senses the warmth of Caesar's love for her people and friends as well as her resolve in her approach to government. Even in the midst of the Conspirators' bloody assault, Scurria beautifully expresses the depth of Caesar's heartache when she sorrowfully realizes her closest advisors' betrayal.

While the character of Caesar and the plot that leads to her demise are pivotal to the narrative, Brutus is the central player in Julius Caesar, and Stephen Thorne gives a standout performance in this highly complex role. He captures Brutus' turmoil as he is torn between his abiding love for Caesar and his perceived duty to Rome, and he balances Brutus' fatally naïve idealism with his ability to inspire love and fealty in those under his command. Near the close of the play, Marc Antony remarks on Brutus' nobility, and it is this quality above all that Thorne embodies each time he steps onto the stage.

McEleney depicts a masterfully manipulative Cassius. His Cassius is, by turns, animated in his insistent call for Caesar's demise and dangerously still as he lets his chess pieces fall into play. McEleney brings sharp-edged menace to Cassius' most powerful speechmaking, but he also humanizes his character in the aftermath of Caesar's funeral. This is especially notable on the eve of battle, immediately after Cassius' argument with Brutus. When the men reconcile, Thorne's grief-stricken Brutus tells Cassius of a death in his family, and McEleney's soft, shocked response finally allows Cassius' harsh façade to slip away into a feeling of genuine empathy and friendship.

Tyler Dobrowsky's smart direction streamlines this production and makes for some truly tense and emotional moments as the storyline unfolds. Trinity's Julius Caesar also incorporates a good dose of humor in spite of the conspiracy and bloodshed that primarily characterize the play's action. Fred Sullivan, Jr.'s sparkling gift for comedy shines through as he brilliantly punctuates his delivery of Casca's witticisms, garnering the audience's appreciative laughter when Brutus and Cassius ask Casca for news of Caesar. Sullivan also manifests palpable fear during the violent thunderstorm that shakes Rome (and Casca's nerves) on the night of the Conspirators' meeting.

Joe Wilson, Jr.'s Marc Antony likewise steals the spotlight with some fabulous comedic material. Antony enjoys the best entrance of the production, a brief moment that Wilson plays to perfection. Wilson also makes Antony's impassioned speech at Caesar's funeral most memorable, seamlessly mixing spot-on humor (directed with a wink at Trinity's audience rather than at the Roman citizenry) with Antony's heartrending grief and steadily simmering quest for vengeance.

The ever-wonderful Barbara Meek brings poise and dignity to her portrayal of Cicero. Rachael Warren's Portia exudes strength, dependability, and passion; her scenes with Thorne are vibrant and heartfelt. Tara Sullivan, as Lucia, proves herself an accomplished vocalist, and Griffin Sharps' Soothsayer is by turns ominous and comedic, making his dire warnings to Caesar all the more unworldly and disconcerting.

Adding to the excellence of this production are the contributions of Trinity's artistic team. Michael McGarty's spare setting - concrete blocks and steel-framed staircases - proves remarkably versatile in allowing for the actors' movement and for quick changes of scene and setting. Craig Handel's energetic fight choreography, amplified by John Ambrosone's perceptive lighting design, has lots of sizzle and intensity.

Olivera Gajic costumes Caesar's advisors in crisp black suits and military garb, befitting their stations, which contrast the bright colors of Caesar's tailored jackets and skirts. The crisp white pantsuit Caesar wears to the Senate presents a myriad of possible meanings, from royal status, innocence, or saintliness to the suggestion of death and mourning. This white suit also makes for a striking visual when the Conspirators carry out their attack and Caesar's garments are indelibly marred with her blood.

In addition, a string quartet - Hannah Ross, Chase Spruill, Adrienne Taylor, and Ethan Wood - offers a subtle musical accompaniment to the action on stage. The sometimes somber, sometimes menacing notes these musicians provide help to set the mood and character of each scene.

Julius Caesar plays Trinity Repertory Company's Sarah and Joseph Dowling, Jr. Theater through October 11, 2015. Ticket prices range from $30-$71. Tickets are available online at www.trinityrep.com, by phone (401) 351-4242, or by visiting the box office at 201 Washington Street, Providence, RI.

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Photo by Mark Turek