Bell Shakespeare’s latest staging of Julius Caesar, under the assured direction of Artistic Director Peter Evans, offers a thoughtful and often compelling take on what is arguably Shakespeare’s most incisive political drama.
Positioned as a companion piece to the company’s 2025 Coriolanus, this production leans into contemporary resonance without sacrificing the clarity of the original text, presenting a world that feels both historically grounded and eerily familiar.
Evans’ dual role as director and set designer pays off in a cohesive vision. The decision to situate the action in a landscape reminiscent of 1990s Eastern Europe, hovering in the uneasy aftermath of the Berlin Wall’s collapse, proves an effective framework.
It allows the play’s exploration of populism, fragile democracies, and the lure of autocracy to land with quiet force. The visual language is stark but purposeful, evoking a society in transition, where political structures are unstable and public sentiment is easily swayed.
At its centre, Septimus Caton delivers a measured and dignified Julius Caesar, capturing both the charisma and the looming threat that unsettle his peers. As Brutus, Brigid Zengeni is a standout – thoughtful, conflicted, and ultimately tragic – anchoring the moral complexity of the production. Leon Ford brings a sharp, restless energy to Cassius, effectively embodying the character’s manipulative edge without tipping into caricature.
Mark Leonard Winter, making his Bell Shakespeare debut as Mark Antony, grows into the role impressively. His funeral oration is a highlight, handled with a controlled intensity that builds persuasively rather than overwhelming.
Gareth Reeves’ Casca and Jules Billington’s Portia provide strong support, while the broader ensemble contributes to a tightly knit performance that sustains momentum throughout.
The creative team enhances the production’s atmosphere without overshadowing the performances. Simone Romaniuk’s costumes subtly blend classical and modern elements, reinforcing the production’s temporal duality, while Tim Dashwood’s fight direction ensures that the play’s bursts of violence feel immediate and consequential.
Madeleine Picard’s sound design and Amelia Lever-Davidson’s lighting design are well calibrated, underscoring the shifting tone throughout, adding textural layers, particularly in moments of tension.
If the production occasionally leans too heavily on its conceptual framing, it nonetheless succeeds in illuminating the enduring relevance of Shakespeare’s text. The central questions around ambition, loyalty, and the fragility of democratic systems are handled with intelligence and clarity, making it a rewarding experience for both seasoned Shakespeare audiences and newcomers alike.
Julius Caesar
Fairfax Studio – Arts Centre Melbourne, 100 St Kilda Road, Melbourne
Performance: Friday 24 April 2026
Season continues to 10 May 2026
Bookings: www.artscentremelbourne.com.au
For more information, visit: www.bellshakespeare.com.au for details.
Images: Septimus Caton and the Cast of Julius Caesar – photo by Brett Boardman | Brigid Zengeni, Ava Madon and Septimus Caton – photo by Brett Boardman | Mark Leonard Winter – photo by Brett Boardman | Jules Billington and Brigid Zengeni – photo by Brett Boardman
Review: Rohan Shearn