Julius Caesar: A review

A country divided, a constant change of leadership, and a group of politicians vying for attention and approval; it’s not difficult to see why Julius Caesar was chosen as this year’s adapted Shakespeare production at Giggleswick School (performed on the 8^th and 9^th of February). Arguably the Bard’s most famous Roman play, it was fascinating to see how many contemporary politicians appear to be ignorant to the protagonists’ failings, eager to exhibit them on an international platform. With a mixture of pupils from both Giggleswick School and Settle College (for the first time), this production came together slickly to present a society on the verge of upheaval.

As the audience made their way into the auditorium, they were met with an enthusiastic mob of Romans, all gesticulating wildly and proclaiming passionately where their loyalties lay. As with most Giggleswick School productions, every member of the ensemble was entirely committed to the character they were playing at any given time. What was even more impressive was their confidence to interact with audience members, questioning who they’d be voting for and guiding them effortlessly to the next scene when required. Katie Baskeyfield and Gareth Warburton opted for an immersive experience, forcing the audience to become part of a rabble that went from cheering on their heroes to killing in cold blood. This is not an easy style of theatre to pull off, but the pupils built the world their characters inhabited very quickly.

Despite only having three performance spaces, each part of Rome was clearly mapped out. From the thronging senate building to Brutus’ secluded office, the ensemble’s ability to change their energy levels to suit the environment they occupied was very impressive. Raucous music underpinned the civil unrest, whilst the lighting subtly brought out the characters’ true intentions when speaking to the crowds. Set pieces were also used to heighten the drama, most notably at the conspirators’ betrayal (banners suspended over the senate fell theatrically to the ground upon Caesar’s death), and during Mark Antony’s funeral speech (despite being wheeled directly through the audience, many were shocked when Caesar’s body was revealed).

The production was led by some extremely talented young performers, who were able to deliver challenging Shakespearean text whilst holding onto clearly defined characters. Leopold Ingham-Barrow gave the audience a quietly confident Marcus Brutus, whose decisions very clearly weighed heavy on his mind. Reluctant to join the revolution at first, Brutus’ rise to power is a complex one, and this actor was able to showcase each beat of that emotional journey with nuance and intelligence. John Starkie’s Julius Caesar was rambunctious and provocative; with ruffled hair and a blundering bravado, it was easy to see the inspiration behind this actor’s excellent choices.

This production also saw female actors take on several roles traditionally occupied by men. Evie Robinson delivered a brooding Mark Antony, whose ability to charm and manipulate shone through assuredly when she addressed the masses. Caius Cassius was portrayed by Aaminah Iqbal in such a way that gave real weight to Caesar’s fear that she has a “lean and hungry look”; ambitious and dogged, she never let Brutus off the hook. Finally, Charlie Ellwood’s authoritative voice meant he commanded the stage whilst still delivering emotional depth during Metellus Cimber’s plea to Caesar. It was fantastic to see pupils of both Giggleswick School and Settle College working together seamlessly on this production, and I hope this is a relationship that continues to thrive in years to come.

This performance was charged and evocative, and it often became difficult to differentiate between audience member and ensemble player, the mark of an effective immersive production. The parallels to our current state of politics were clear but not forced, and – despite the heavy subject matter – it looked as though every member of the cast was thoroughly enjoying themselves. I congratulate all those involved on creating a fluid and exhilarating production that flew by!

Miles Warburton