There is a reason the works of William Shakespeare have endured through the centuries. They persist because of the universality of their themes. This is no better illustrated than in Genesius Guild’s current production of Julius Caesar directed by Alaina Pascarella. The script is rife with references that can be applied to our current political climate. This script also has given rise to numerous idioms in our everyday vernacular, among them: “friends, Romans, countrymen,” “Et tu, Brute,” and “beware the Ides of March.”
Briefly, the plot revolves around Julius Caesar’s political ambition and a circle of conspirators, led by Caius Cassius and Marcus Brutus, who fear that Caesar’s rise to power will demolish Rome’s democracy and that he will install himself as a dictator. Sound familiar? A soothsayer tries to warn Caesar of the impending danger by telling him to “beware the Ides of March,” but Caesar, in his hubris, ignores the warning and the conspirators assassinate the would-be tyrant on the floor of the senate. This sparks a civil war supported by a malleable mob and ultimately results in suicides by the now disillusioned assassins.
Taking on the titular role of Caesar is Brian Wellner, fresh off his role as Jason in the Guild’s production of Medea, in the pivotal roles of Brutus is Andrew Bruning and as Cassius is one of the several women assuming male characters in this production, Kate Farence. All deliver strong portrayals. As Caesar’s most loyal follower, and gifted orator, Marc Antony, is Kate Almquist. This production is well performed and well worth taking in as much for its historical context as for the drama.
That being said, there were some things I really liked and some things I didn’t. On the plus side, setting the mob scene in the old pool area and throughout the audience provided some welcome variety and alleviated the otherwise pedantic blocking. Another boost to this show was the well-choreographed by Lily Blouin battle scene.
Not so great: I have clearly lost the battle of allowing the anachronisms that have slowly insinuated themselves into the Guild’s recent productions. Eyeglasses, jewelry, hair barrettes and tattoos all sizzle my sensibilities; might I suggest that if the current directors choose to ignore those anachronisms, that they take the route other Shakespearean theatres have taken, and set the action in updated times and places so those anomalies don’t matter? It would also save money on costuming. For example, this play might work well in current day Washington, D.C.
This is an excellent place to mention that Genesius Guild is launching a million dollar campaign to execute a massive reconstruction of the venue. This WPA project from the Depression Era is suffering from subterranean erosion and is in dire need of correction. Doing so will provide future directors more latitude in blocking and scenery. If you can, please be generous in your donations.
I’d also like to send out a clarion call to any aspiring but possibly timid Thespians – especially those of the male persuasion – to throw caution to the wind and audition for Genesius Guild. A whopping 14 of the 19 member cast in this show played multiple parts – some as many as 4 and 10 of the 19 were female forcing many to play male roles.
Julius Caesar continues on the Don Wooten stage at Lincoln Park located at 38th Street and 11th Avenue in Rock Island, Saturday and Sunday, June 29 and 30 at 7:00 p.m.
I’m Chris Hicks…break a leg.