Julius Caesar (Will Geer’s Theatricum Botanicum 2021 Production) Theatre Review

Production photo by Ian Flanders

Shakespeare is always relevant. His work has something to say about whatever situation we are currently experiencing. In the aftermath of the Trump administration, and particularly the January 6th insurrection, what has been coming to mind is the way the fickle crowd is easily swayed in Julius Caesar. From the opening scene, in which Marullus and Flavius berate people for casually switching their allegiance from Pompey to Caesar, to the famous scene where Brutus foolishly lets Antony speak after him and the crowd quickly moves from supporting the conspirators to wanting their blood, we see the way a crowd can be easily led and misled. That latter scene in particular came to mind as the country watched the events unfold on January 6th, especially as Republicans in that violent mob erected a gallows and chanted “Hang Mike Pence,” a person to whom they had been loyal only days before. In addition, there is the ongoing question about what to do with Trump himself, a man who is clearly at odds with the whole concept of democracy and who has authoritarian desires, also related to the character of Julius Caesar. The new production of Julius Caesar at Will Geer’s Theatricum Botanicum clearly has an eye on the current state of the world. In fact, before last night’s performance, the production’s director, Ellen Geer, and the cast spoke about the connections between this play and current events, and Geer said the play was chosen this season because “it reflects what’s going on in our country.” For this production, the role of the Soothsayer (who has but a few lines in the text) is expanded, and takes on the function of narrator, drawing the connection between the events of the play and our current times. If any character is going to do that, it makes sense for it to be the Soothsayer, the person who seems able to look into the future. This production also features a couple of well-choreographed battles scenes.

As the performance begins, the Soothsayer (Gerald Rivers), in his role as narrator, speaks about Shakespeare and society, and about a country’s disintegration. “We know what happens when we don’t get involved,” he says in this newly written speech, then adding that we also know what happens when we do. And speaking of getting involved, this production asks the audience to be a part of the performance rather than silent spectators. As the audience files into the theatre, each person is given a small sheet of paper with lines to shout out at specific times, lines such as “Traitors!” and “Caesar’s tongue outvenomed all the worms of Nile.” And not everyone is given the same lines. Essentially the audience members are asked to take the part of the crowd, which then should cause them to take a look at their own involvement or lack thereof in current events. It is an interesting choice, and some of the audience really got into the spirit of the thing. (There was at least one audience member who was confused about the timing, and shouted out his lines at the wrong moments, leading one member of the cast to gently guide him back onto the same page, which was interesting in itself.) Also, the line “Why dost thou lead these men about the streets?” in the opening scene is directed out at the audience, and there is a pause before the word “men,” so it becomes something of an insult, as if to say that we in the audience are less than men in their eyes.

Julius Caesar (Mark Lewis) and his entourage enter through the audience, which adds to the sense that the audience is involved in the action. The Soothsayer actually speaks his first line from a seat in the front row, and then is brought onto the stage to repeat his famous warning, “Beware the ides of March.” This production makes great use of the space, not just the stage, but the aisles through the audience and the woods behind and next to the stage, and when Brutus (Christopher W. Jones) and Cassius (Melora Marshall) first speak together downstage left, much of the rest of the cast is up in the woods behind the stage, while Caesar is on the roof of the structure upstage left. Those people remain frozen for much of the dialogue between Brutus and Cassius, occasionally calling “Hail Caesar,” to which Brutus and Cassius react. Cassius seems somewhat devious from the start, though Caesar is more frightening when he says of Cassius, “He thinks too much: such men are dangerous.” Yet a moment later you can’t help but agree with Caesar when he rebukes Cassius for not attending plays or listening to music. So even before Antony’s big speech, we in the audience feel our allegiance pulled between the two factions. And regarding another of our current troubles, Cassius’ line “But if you would consider the true cause/Why all these fires” certainly stands out (I heard some others in the audience react to it).

When Brutus delivers his “He would be crown’d speech,” he is on the platform downstage right, above much of the audience. So we look up to him, giving him an elevated position physically as well as morally. And that is where the conspirators gather as well, so at this point we side with them. Once the conspirators exit, we are treated to that intimate scene between Brutus and Portia (Willow Geer), which ends up being one of the most powerful scenes in the production, in large part because of the two excellent performances. It is interesting because it is more by her words than his that we get a glimpse of Brutus’ troubled mind. He lays his head on her lap before “O ye gods,/Render me worthy of this noble wife,” a tender and touching moment. And then with Caesar and Calpurnia (Cindy Kania-Guastaferro), we see both the similarities and differences in the two relationships. Caesar pokes a bit of fun at Calpurnia when he recounts his wife’s dream, belittling it to Marcellus (Max Lawrence), not Decius, as in the text (that character being cut in this production). And again, because of that treatment of his wife in front of another man, we side with Brutus here. Portia is also excellent in her scene with Lucius (played by understudy Joseph Bricker last night), when she is apprehensive and jittery, her nerves getting the better of her.

Julius Caesar is certainly arrogant, something that Donald Trump has in common with him. And in the moments before his murder when Caesar speaks of himself in the third person, we are reminded again of Trump. The killing is done in slow motion. When Brutus approaches Caesar, Caesar is shocked and sad, and we hear that in his delivery of that famous line “Et tu, Brute?” There is no anger there, and because of that, in that moment we feel for him. It is after Caesar says “Then fall, Caesar” that Brutus actually stabs him. It is an incredible moment, almost like Caesar is willing to die since even Brutus has turned on him, or that he knows he has no chance because of that. Mark Lewis is absolutely excellent here. And there is a wonderfully long pause after the murder, as the conspirators catch their breath, and the severity of their action sinks in. We in the audience need that moment too, especially as we feel that we have taken part in the killing, that we are complicit. Antony’s reaction to seeing Caesar’s body is poignant. Michael McFall gives one of the production’s best performances, showing both great strength and intelligence, while also in that moment when he first sees the body, allowing us to witness his despair. His delivery to Brutus of the line “That’s all I seek” is excellent, and when Antony is alone with the body of Julius Caesar, his demeanor and tone change completely, and we sense the explosion that is to come from within him. This production boasts a talented cast, without a single weak player, and even among such a strong company, Michael McFall stands out, especially during that well-known speech. I love his delivery of “You will compel me then to read the will?” He knows in that moment that he has the crowd (which is us), and he knows precisely what he can expect from them. And as he reads the will, he faces the audience, and we feel our allegiance shifting to him, just as the crowd’s loyalty becomes his. It is an excellent moment, and even those who have chosen not to shout out the lines they were given must feel they are taking an active part in the proceedings. The narrator steps in after that moment to describe how Rome is in chaos, with citizens choosing sides, something that, even with Trump out of office, is still true of our nation now.

One of the other really intriguing performances is that of Melora Marshall as Cassius. Her performance is multi-layered, showing us both the character’s intellect and his selfishness, his strengths and weaknesses. There are moments when we wonder if Cassius is being straightforward with Brutus or cunning, and if Cassius even recognizes the difference anymore. I particularly love the scene toward the end when Cassius feels he has lost Brutus’ respect and love. Melora Marshall’s delivery of “You wrong me every way; you wrong me, Brutus;/I said an elder soldier, not a better/Did I say, ‘better’?” is particularly good, packed with passion and even humor. When the ghost of Julius Caesar enters, it is to the right of the audience, with his face covered. Brutus is downstage right, so the audience is between Brutus and the ghost, which is interesting. For isn’t that where we’ve been placed from the beginning, as Roman citizens? When Cassius bids Pindarus (Nicolas Jordan) to kill him, Pindarus does not hesitate. That is in great contrast to the moment when Brutus similarly looks for help in committing suicide, and the first person he asks declines. In this production, it is Lucius, not Strato, who agrees to hold the sword for Brutus. As he holds it, he turns his head away from Brutus, looking out to the audience, again making us part of the action. The Soothsayer as narrator is given a final speech, once again connecting the play with the present. Though Gerald Rivers does a fine job here, as throughout the performance, this speech feels unnecessary, and it seems that it should be Shakespeare who has the last word.

This production of Julius Caesar is directed by Ellen Geer, and runs through October 30^th, in repertory with A Midsummer Night’s Dream. Visit the Will Geer’s Theatricum Botanicum website for the complete schedule. Because of the ongoing pandemic, the performance runs without an intermission, and is just under an hour and a half. Also, masks are required for all those in attendance, regardless of vaccination status.

A Midsummer Night’s Dream (Will Geer’s Theatricum Botanicum 2021 Production) Theatre Review

A Midsummer Night’s Dream is really the perfect play for the outdoor space at Will Geer’s Theatricum Botanicum. There is something magical about that theatre, the way it is built into the side of a hill, with the woods stretching off in various directions, from which actors can – and often do – make their entrances and take their exits. It is really one of the most wonderful places in Los Angeles, and it wouldn’t be a surprise to encounter actual fairies and sprites on the grounds. And, understanding that sense of magic, the troupe there regularly returns to A Midsummer Night’s Dream. It is one of two Shakespeare plays the company has chosen to perform this summer, after the pandemic forced the theatre to remain closed last season, and is a wonderful way to welcome folks back. We can all use a little magic in our lives these days.

This production, directed by Melora Marshall (who also plays Titania), adds more of a musical element, with certain lines and exchanges sung rather than spoken. It works with this play, because there is already that sense of the unreal inherent in the material. The company also exercises some restraint in this regard, and there is not an excessive amount of singing. As the play opens, Hippolyta (Oyemen Ehikhamhen) comes running onto the stage, heading straight downstage center, with Theseus (Jose Donado) following her, a nice way of illustrating the way in which she was wooed in the first place, and establishing the dynamic of that relationship. When Egeus (Tim Halligan) enters, he pulls Hermia (Julia Lisa) in with him. She ends up kneeling in basically the spot that was previously occupied by Hippolyta, leading us to draw a connection between the two characters, something that I don’t recall seeing before. Lysander (Joey Major) joins Hermia there, while Demetrius (Ethan Haslam) stands to the side, at first hardly looking at her, creating an image that makes it quite clear where the love is among this group. After Lysander’s line about her “father’s love,” he and Demetrius scuffle, and it is Hippolyta who finally separates them, which is interesting. Also, this is an early example of how physical a production this one is. And that is part of what makes this production so much fun.

Helena (Sara Mountjoy-Pepka), when making her first entrance, kind of sneaks onto the stage. She is a good head taller than Hermia, which later makes all those jokes about height all the more pointed and strong. She is also the first character to sing her lines, singing “that fair again unsay” all the way to “ere I go.” Then she and Hermia sing their exchange together, before Hermia runs off into the woods upstage, followed by Lysander, leaving Helena alone to deliver her speech about Demetrius. The entire cast is strong, but Helena is absolutely fantastic, and it is during this speech that we first see just how good she is. When she is chasing Demetrius through the woods, she hugs him from behind on “You draw me.” She then crawls around at his feet after the “spaniel” line. One thing I love about the way that scene is handled is that Demetrius is actually sweet when delivering the “To trust the opportunity of night/And the ill counsel of a desert place/With the rich worth of your virginity” lines. We see that he does care about her, at least enough to worry about her, to not want any harm to befall her. It’s excellent to have that moment, so that we can believe at the end that they are actually good for each other. Later, after becoming out of breath in her “fond chase,” Helena sits just downstage of Lysander, and is hilarious when discovering him lying there. Her delivery of “Dead? or asleep?” is fantastic. She shouts out “Dead?” in alarm, and it’s funny that her mind would automatically jump to the worst conclusion, and then quickly follows it with the more mild, more inquisitive, “or asleep?” Hermia is also quite good after waking alone, particularly as she calls out hopefully to the missing Lysander. Her line “I swoon almost with fear” is spoken out to him in the hope that he will hear and react, rather than to herself, a wonderful choice.

When we meet the Mechanicals, most of them enter from behind the audience, with the exception of Quince (Earnestine Phillips). It’s a nice touch, because it feels like they are among us, that a portion of the audience is getting the chance to put on a play. And they are as excited about it as we would be. Of course, Bottom (Thad Geer) is particularly keen on the performance, wanting to play each role as it is mentioned. He is hilarious, choosing certain lines to really punch, such as “I will move storms.” Bottom even leads the others in a song before the rest of the parts are handed out. While the Mechanicals entered from the audience, the fairies enter from the woods, right away showing the extreme difference between those two groups. One of them even enters swinging on a rope. Rather than Puck meeting with one fairy in this scene, as in the text, he meets with four, each of them delivering some of the single fairy’s lines. Also, interestingly, the fairies have the little changeling boy with them. That boy plays a more significant role in this production than in most. Puck (Terrence Wayne, Jr.) proudly proclaims, “I am that merry wanderer of the night,” standing for that line. This Puck takes great delight in both his actions and words, and it is a joy to watch him. Oberon (Lisa Wolpe) and Titania (Melora Marshall) wear somewhat ornate headdresses to show their stations as King and Queen of the fairies, and demonstrate the power each has over the other in their first scene together. Titania sings the story of the changeling boy’s mother. And when Oberon describes to Puck the flower he needs, the lights become purple to match the line “now purple with love’s wound.”

Magic plays an even more important role than usual with this production. When Helena is chasing Demetrius, she basically gives up, until Oberon makes a signal, and then suddenly she stands up and says, “I’ll follow thee and make a heaven of hell.” There are many such moments in this production where the fairies have an effect on the mortals and their actions, and these moments are accompanied by some interesting use of percussion instruments. Of course, those moments are in addition to the uses of magic that we expect, such as when Bottom is transformed into an ass. The donkey head he wears covers most of his head, except his mouth and chin, so that his lines continue to be easily heard and understood. And later Puck actually physically pulls the donkey head off of Bottom (often that is done off stage, or in a spot on stage that is hidden from view) and holds it in his hands. One of my favorite moments of this production is when both Demetrius and Lysander, because of the magic flower, find themselves pining for Helena. Helena delivers her line, “To call me goddess, nymph, divine and rare,/Precious, celestial,” and with each word of that list that she utters, Demetrius and Lysander agree, repeating the word back to her. Helena catches on quickly, and before the end of the line, she is playing with them, as if to see how far they will go, and enjoying hearing herself called the words of her own choosing. It is a delightful and completely hilarious moment, and Helena totally owns it, and owns them (and us, for that matter).

The Mechanicals’ play at the end is also wonderful. Snout (Sky Wahl), in the part of Wall, reacts with such joy when Bottom repeats his name. Those reactions had the entire audience laughing out loud. Bottom actually does quite a good and earnest job in his part as Pyramus, though milking it for all it is worth, extending his death scene as much as possible. At last night’s performance, Tim Frangos filled in for the role of Flute, and did an absolutely commendable job, particularly during this play within a play as Thisbe, following Bottom in extending the death scene. Bottom and Flute are excellent here. For that scene, Demetrius, Helena, Lysander, Hermia and Egeus place themselves just in front of the audience, so they become part of us essentially, as we enjoy the performance. The Mechanicals engage in a dance, and then the couples dance, with Theseus and Hippolyta performing a rather warlike dance, once again reminding us of how they became a couple. Then everyone freezes, while the fairies take the stage. Because this production does not do the usual doubling of the roles of Theseus/Oberon and Hippolyta/Titania, Theseus and Hippolyta are able to remain on stage for this moment and Oberon’s speech, which was great.

This production of A Midsummer Night’s Dream is directed by Melora Marshall, and runs through November 7th. Visit the Will Geer’s Theatricum Botanicum website for the complete schedule. Because of the ongoing pandemic, the performance runs without an intermission, and is just under an hour and a half. Also, masks are required for all those in attendance, regardless of vaccination status.

Production photo by Ian Flanders