In its fourth outdoor summer Shakespeare season, the enterprising Commonwealth Shakespeare Company presented Julius Caesar. Eric Levenson's set neatly co-opted the classical architecture of Parkman Bandstand on Boston Common and provided enough scaffolding for Kate Clarke to entwine herself about while overseeing the worth of her predictions as Soothsayer.
CSC Artistic Director Steven Maler divided the action into two parts with radically different costume treatment. For the first acts, the principals sported black vests over colorful silk togas, for which costume designer Clint E.B. Ramos must have raided all the Indian sari shops in Boston. Camouflage outfits signaled Maler's move from a straightforward dramatic concept to a contemporary Bosnia/Kosovo situation in the second half. This visual transition nicely underlined the increasing desperation of the conspirators in this, Shakespeare's ultimate political statement. Anchoring the cast was Will Lyman's masterful Brutus, with Paula Plum a luscious and moving Portia.
In the title role, Miles Herter lacked stature. Dmetrius Conley-Williams as his successor Mark Antony began well but quickly turned strident and mannered; he was unconvincing in the famous eulogy. Acquitting themselves well in the large cast were Carol Ann Parker (Calpurnia), Scott Barrow (Lucius), and Joe Owens (Caius Ligarius), but Jeremiah Kissel was unnecessarily driven as the revengeful Cassius. Maler's blocking was quite effective, and Robert Walsh's fight scenes were believable. It may be too much to ask for a director -- even talented, energetic Steven Maler -- to be able to harmonize highly disparate acting styles and conceptions of Shakespeare after a short rehearsal period. (One imagines he can achieve more in this regard in CSC's extensive youth and school programs.)
The audience gave this Julius Caesar their full attention and enthusiastically applauded at the end.
