Mary Groom on the latest performace at Incognito Theatre

A scene from Incognito Theatre's Julius Caesar with one actor kneeling over the body of another — (Credit – JohnMWatsonPhotography)

From the start, it was clear that this was not a traditional production of Julius Caesar. The director, Naomi Smallwood, has taken a skilful editor’s pen to the play and produced a sensitively abridged script that tells the story simply and well, without the pace ever lagging, bringing the show in at under two hours.

This is a production in which every element has been carefully thought through and crafted. The music was atmospheric, and both it and the lighting were cleverly used to reflect the action at every point.

In a play where there are a lot of deaths (with some actors dying three or four times as different characters), the awkwardness of seeing a supposed dead person get up during the blackout was resolved with stylised movement and often a suggestion of some lingering aftereffect – most powerfully when Julius Caesar rises after his assassination and removes his laurel wreath, holding it out for both Anthony and Brutus to attempt to grasp.

The costumes were modern day, but with a hint of the play’s original setting, with armbands and sashes used over suits to suggest political affiliations. The set was stark but striking, with a raised platform and columns to suggest the Roman background.

The whole cast was pitch perfect and had been tightly directed, so that much was conveyed with just a look or a movement. Steve Chapman conveyed Anthony’s political savvy with great authority, commanding both the crowd in the play and the audience in the funeral speech. Matthew Pert gave us a conflicted, relatable Brutus, showing his sincerity and attempts to do what he thinks is right.

Harry Harding was a scheming Cassius, manipulating Brutus at almost every turn and yet also showing a genuine affection for him. Andrew Wolstencroft’s Caesar conveyed the main character’s statesmanship, while allowing us to see hints of the ruthlessness that had fatally turned people against him.

In a play not over blessed with female roles (as written), the director cast Catherine Little and Louise McKie as the conspirators Casca and Cinna, both providing compelling performances and giving a more universal feel to the bubbling dissatisfaction with Caesar. Maria Casey’s Calpurnia was also given more to do, working with Anthony in the second half to vanquish the conspirators and regain control of Rome.

She was cold and purposeful when necessary, but also showed a softer side when trying (unsuccessfully) to persuade Caesar not to go the Senate. Molly Wells as Portia also played a more important role in this production, with her reactions to both the conspiracy she perceives and the aftermath of the assassination providing a more emotional and human reaction to the horror of lives being taken. She also provided a beautiful moment when the ghost of Portia sings to Brutus.

Able support was also provided by David Middleton, opening the play with a powerful speech, and Julia Osterly, playing many roles, in particular the hapless Cinna the poet, who gets mistaken for Cinna the conspirator.

This was a stylish, enjoyable, well-told production, with not a foot put wrong. I feel sure the Bard himself would have approved.

Julius Caesar by William Shakespeare was the latest production by Incognito Theatre, based in Friern Barnet. For information on future shows, see https://www.incognitotheatre.co.uk/.

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