Gender-bending and thought-provoking
Shakespeare can be done on a shoestring, and we live in explosive political times. Brown Paper Box Co.'s Julius Caesar takes these two tenets and makes the most out of them. The eight-person cast is diverse in race and gender, and acclaimed director Lavina Jadhwani guides her cast in intelligent choices from beginning to end. This Julius Caesar defies normalcy, but doesn't disregard it, adding a richness to the inner struggles of antihero Brutus and challenges to ever-loyal Marc Antony. The audience at Sunday's matinee was small but mighty, and I can only hope it will grow throughout the production's month-long run.
By casting a woman in the role of Caesar, not to mention two Caucasian men as Caesar's primary assassins, Jadhwani reflects our current political climate, rife with misogyny at the hands of white male leaders. But this is more than stunt casting or a blatant statement: it works, and it works well. Jadhwani boasts a lengthy and impressive resume, and every bit of her education and experience is at play in Julius Caesar. Jadhwani's pacing is quick, her staging smart, her actors strong and capable. The one misstep of director and actor alike is Susan Myburgh's Portia, who comes across as over-the-top and screechy in her one pivotal scene.
This Julius Caesar is presented with the ultimate simplicity: there are only two set pieces, and six of the eight actors play multiple roles while clad in jeans and T-shirts, black boots and red and purple sashes used in a myriad of ways. Some of the production values aren't as well-executed as others. Sara Heymann's set is hit or miss: the "marble" platforms work well, but the painted brick wall looks like cardboard and is completely unnecessary. Similarly, Gary Nocco's costumes work better in theory than in execution, as the T-shirt color is unflattering on literally every actor. The idea of simplicity (not to mention the concept of gender-bending) may have worked better if the actors had worn different articles of black clothing.
Set and costume issues aside, Julius Caesar is compelling, thanks in large part to Jadhwani's wise direction, exciting fight choreography courtesy of Vafadari and Tyler Esselman, and a skillful ensemble. Abie Iraborstands out in multiple roles, including conspirator Casca, and Malcolm shines as Caesar and as minor characters in the play's second half. Toot, whose credits include Chicago Shakespeare Theater, is utterly at home with Shakespearean text, with every vocal inflection squarely on point. Kurysz, a staple of the local theater scene, perfectly embodies Brutus' growing angst. And Vafadari is the production's true star. She delivers Antony's iconic speech with stirring energy and as Brutus' lovable but clueless servant, light comic relief that's both appropriate and deeply necessary.
I'm still thinking about Julius Caesar nearly a full day after viewing it. As America descends into voting season, choosing Presidential candidates and fighting for civil rights centuries after such battles should have ended, Shakespeare's play is more relevant than ever. Do yourself a favor and see Brown Paper Box Co.'s adept, haunting production. It's important in more ways than one.
Julius Caesar continues through April 3rd at Greenhouse Theater, 2257 N. Lincoln (map), with performances Thursdays-Saturdays at 7:30pm, Sundays 2pm. Tickets are $25, and are available by phone (773-404-7336) or online through GreenhouseTheater.org (check for half-price tickets at Goldstar.com ). More information at BrownPaperBox.org . (Running time: 2 hours, includes an intermission)
behind the scenes
Lavina Jadhwani (director, adaptor), Charles Askenaizer (assistant director, dramaturg), Connor Ciesil (sound design), Kaitlyn Guerrieri (stage manager), Sara Heymann (set design, properties), (costume design), M. William Panek (casting), Charlie Sheets (graphic design), Nick Shoda (press and media), (lighting design), Damian Wille (production manager), Tyler Esselman , Vahishta Vafadari (fight choreographers), Ryan McCabe, (photographers)
Tags: 16-0312, Abie Irabor, adaptor), Amy Malcolm, Brown Paper Box Company, Charles Askenaizer (assistant director, Charlie Sheets (graphic design), Chicago Theater, Connor Ciesil (sound design), Damian Wille, Dan Cobbler, Dan Toot, dramaturg), Eric Vigo, Gary Nocco (costume design), Greenhouse Theater, Jeff Kurysz, Justin Harner, Kaitlyn Guerrieri (stage manager), Lavina Jadhwani (director, M. William Panek (casting), Nick Shoda, post, properties), Ryan McCabe, Sara Heymann (set design, Sophie Scanlon, Susan Myburgh, T.J. Anderson, Tyler Esselman, Vahishta Vafadari, William Shakespeare, Zach Dries
Category: 2016 Reviews, Adaptation, Brown Paper Box Co, Greenhouse Theater Center, Lauren Whalen, William Shakespeare
