Macbeth and Julius Caesar: A Season In Repertory

From Bryn Coldrick. Thanks for coming Bryn! Review: Macbeth & Julius Caesar (Upstart Theatre Company) 5 November 2012 I loved the simplicity and minimalism of these productions. Without elaborate sets and costumes, the focus is essentially on the text, the plot, the characters, the performance. And what a great space to put on shows like this. With the exception of the title character, who looks suitably exotic in comparison to everyone else, the majority of costumes in Julius Caesar are essentially a white sheet draped over the blacks to represent a toga. It doesn’t get much more simple than this. The costumes in Macbeth were more elaborate, and I especially liked the elegant black dress with red trims worn by Lady Macbeth (Nichola Renton). They were probably the sexiest Lord and Lady Macbeth I’ve seen (this is at least the fourth stage production I’ve been to and I’ve seen several TV/film productions) and all the main characters looked great in their modernised medieval garb, reminiscent in some ways of Game of Thrones. Adam T Perkins was a virile and energetic Macbeth. He has that manly quality and physicality that convinces us he’s a real soldier and definitely not someone to trifle with on a battlefield. The climactic fight with Macduff was brilliant. Indeed, both shows contained great fight choreography that was well executed by the actors. The fourth wall is totally obliterated in these productions, sucking the audience into the action. This was particularly well done in Julius Caesar where the audience becomes part of the mob more than once. The audience participation was well managed in both plays – people usually don’t come to a show to be put on the spot so this needs to be handled carefully, which it was. There were some nice standout moments in both productions. Some that will stay with me include the dying Caesar smiling defiantly at Brutus as the last dagger comes for him. This was a surprising, interesting and totally unexpected reaction. The same actor (Maitland Schnaars) as Macduff moved me to tears when he received the news that his wife and "pretty ones" had been slaughtered by Macbeth’s henchmen (I think it helps when you have pretty ones of your own). The scene between Portia (Desiree Crossing) and Brutus was beautifully domestic and real, and the “Double Double” scene in Macbeth had lovely movement. From where I was sitting it would have made a great photo. Adam’s Soothsayer, with his little stone play, was delicate and engaging and I wanted to jump in and stand up for him when he got forcibly cast aside while trying to warn Julius about his fate. And then of course, the Porter scene in Macbeth (always a crowd-pleaser), pulled off with great humour and just a dash of poignancy by Werzel Montague. My only criticism was that I thought the decision to kill Duncan came across as a little too casual; as too much of a foregone conclusion. Of course we know Macbeth will do the deed (just like we know when we watch Titanic that the ship’s going to sink), but I wasn’t convinced that the gravity of the situation, or Macbeth’s dilemma, were conveyed as thoroughly as they could have been. The gravitas of the same predicament in Julius Caesar was much clearer. Perhaps if Lady Macbeth had been just a little nastier, and some of the monologues and dialogues had been slowed down just a touch, perhaps the dreadfulness of the crime would have been clearer, as would Macbeth’s arc from loyal warrior to assassin. Slowing the first half of the play down just a smidgen would, I think, help the audience grasp the magnitude of what’s going on and come on that journey with the characters that much more. Otherwise, the pacing of both shows was great – the scene transitions were utterly seamless, keeping the energy up and the audience engaged. The iconic “Is this a dagger?” monologue didn’t disappoint; both performers portrayed their respective descents into madness well; and I was convinced that the Macbeths were in love, right to the end. The “Out Damned Spot” scene was lovely, particularly in its use of the space. And the lantern with the built-in music box was inspired. In thinking about a central, defining image in both productions, what I’m looking for is a single, striking symbol that defines the play, something you see and immediately think “ah, now I get what this play is all about”. For instance, when STC did The Wars of the Roses, the central image (for me anyway) was the dazzlingly golden confetti that rained down seemingly endlessly at the beginning, suddenly turning dark (to snow or ash) and then stopping, before finally being swept from the stage by the fallen king. This dramatic visual change symbolised the end of the glamorous reign of Richard II and the start of the long, dark winter of war that followed his overthrow. It was an extremely powerful image that encapsulated a key theme of the plays. (for more on TWOTR, see http://www.realtimearts.net/article/89/9323). Perhaps in Macbeth it was the teddy bear which the child plays with, with its tiny crown that gets discarded on the stage. This play is a ‘game of thrones’ and Macbeth himself finally throws the real crown across the space like a worthless toy. I can’t recall a similar all-encompassing image in Julius Caesar (feel free to remind me!) but in both plays, I suppose, it’s blood. The blood indelibly splattered on the stage reminds us that the violent overthrow of a ruler or regime is messy and this of course is as true today as 2,000 years ago (just watch the news). Speaking of blood – the banquet scene with Banquo was deliciously bloody and harrowing (while I was there, the expression on a little boy’s face in the front row when Banquo first enters was priceless!). I would have liked the ghost of Caesar to have been similarly slathered. Given the quality of the ensemble, it seems unfair to single any of the actors out for particular praise. No one let the team down. So many individual performers playing multiple distinct characters meant there was always someone to focus attention on, even when they were not central to the scene, and everyone was engaged at all times. But I just can’t write about these shows without commenting on Cam Clark’s performances, particularly in Julius Caesar. Cam’s portrayal of Brutus completely transformed my perception and understanding of the character by embodying someone who was not a back-stabbing power-grabber, but a man who was deeply troubled by what he had resolved to do for the good of Rome (as he and Cassius saw it), and he carried the weight of this mission on his shoulders like a tree trunk. Such an internalised, understated and ultimately real performance is a joy to watch and something I really admire. It was as if Brutus the man, the historical figure, was right there in front of us, grappling with his conscience. His words and movements were precise and clear, every one infused with meaning and intent, and his apparent effortlessness belied what must have been a tremendous amount of preparation. Preparation and effort were evident throughout both shows and the results reflect a company that is obviously intent on quality. To pull off one of these plays well is an achievement. To pull off two simultaneously is remarkable and a credit to everyone involved. Well done guys, and keep it coming. Julius Caesar & Macbeth are presented by Upstart Theatre Company in association with Pakenham Street Art Space, 22 Pakenham Street, Fremantle, 17 October–17 November 2012 Sourced: http://www.bryncoldrick.com/intro_1.html