Company of Wolves: Julius Caesar

Eden Court Theatre - 06/05/22

Director Ewan Downie began working towards a production of Julius Caesar in 2017 with Brian Ferguson. Quote “We were fascinated by the play’s treatment of collective madness, the madness of the conspirators, the madness of the crowds and the madness of Caesar himself.” 

With the world in crisis, in the throes of power play and alternative truth, this is certainly a play for today.  Presented by Company of Wolves, a laboratory theatre company based in Glasgow, this production uses their rigorous method of theatre making to produce a dynamic and exciting piece of theatre. The director had spent eight years immersed in Polish laboratory theatre, becoming a member of the famed Polish ‘Theatre of the Goat’.  The ensemble played multiple roles as well as key roles with a gender-blind approach. Something which should be applauded. Many all-boy or all-girl schools have to resort to playing Shakespearean roles in this mode. Ah Happy Days!    

This was a pared down, innovative, ensemble production with no frills and furbelows to distract from the essence of the play. The text was generally clear, though sometimes, in an effort for clarity of meaning, the beauty of the verse tended to be lost. Voice projection was at times a little uneven between actors. The prolonged over-emphasis at full volume toward the end of the play tended to drive me back rather than pulling me in. 

Standing out in this performance, Esme Bayley playing Brutus gave a very accomplished performance.  Mark Antony played by Megan Lovat was hindered by being a very small woman and somehow, she couldn’t embody the sheer stature of the man. The ‘Friends, Romans’ speech had none of the sense of manipulating the crowd, subtly undermining Brutus etc, which was a disappointment.  

The costumes were imaginative, simple but very effective.  Basic black outfits to which additions were unobtrusively made in slick onstage changes.  A stunning red robe for Caesar provided a wonderful focus, this inventive production was played within a marked rectangle defined by red stools on which the actors sat, facing away from the action when not involved in the scene. 

A white statue of Caesar and a tall platform incorporating a flight of steps, were deftly moved as part of the action by cast members.  Particularly moving was the transfer, with slow reverence, of Caesar’s statue, from the top of the platform to his lying-in state. 

This was complemented by atmospheric pillar lighting at both sides of the stage enhancing the sense of conspiracy demanded by the play. However, from my seat at the edge of the auditorium this was uncomfortable as it shone directly at me.  Occasionally, the faces of actors were obscured when one standing in front of a light blocked it from his fellow. 

With so few Shakespeare productions available in The Highlands this was a unique opportunity to enjoy an evening with the Bard in the cleverly adaptable studio at Eden Court.