Julius Caesar by William Shakespeare, presented by Shakespeare in the Ruins at the Trappist Monastery Provincial Heritage Park, Thursday June 6, 2013
Reviewed by Stephanie Adamov
During their twentieth anniversary, Shakespeare in the Ruins welcomes audiences back to their home at the Trappist Monastery Provincial Park. It is the second time in ten years that they have been able to perform their works in the presence of the monastery monuments. Up until last year, the park has been patiently awaiting the completion of the renewal process of the historical site. Though the company found temporary refuge in Assiniboine Park, the Monastery lends itself well for a theatrical retreat. Greatly anticipated and with much gratitude, the company welcomed their patrons for the opening of the new refurbished space to present Henry V last year.
On June 6th, with an equal amount of enthusiasm and warmth, the company welcomed the audience for Julius Caesar. As mentioned in the first address of artistic co-chairs Michelle Boulet and Kevin Klassen (both of whom appear in the show), many of those who first founded the company were present in the audience. The co-chairs expressed gratitude to all the patrons who have appeared over the years, and with displayed the ultimate joy of being back to their home at the park for the anniversary season.
Presented in promenade style, this unique theatrical experience allows the audience to physically travel with the actors from scene to scene. Tremendously animated were Ryan Miller and Toby Hughes, who filled the role of tour guides for the audience during transitions. Though the two particularly talented and exceedingly animated improv actors were able to grip and maintain audience interest and anticipation during the walk, this activity distracted and detracted from the drama of the Bard’s piece on more than one occasion.
For the first time in their performance of Shakespeare’s work, the company is performing Julius Caesar. Written in 1599, the play depicts the assassination of the self-made Roman Emperor Julius Caesar by Brutus as well as fellow senators. The action continues in Act II to present the aftermath of those events. The 140-minute play revolves around the themes of political persuasion, as well as the accountability of those in power.
Sarah Constible fills the director’s chair for this production. The interpretation presented attempted to link Caesar to the very charismatic Canadian prime minister Pierre Trudeau of the 1960s and 70s. At times this interpretation felt forced into the production. This was particularly so in the second act where the play seemed to fall into the Roman adaptation rather than keeping with the 1970 events surrounding Black October. However, the nine performers were perfectly robed in Wanda Farian’s designs that instantly thrust the audience back into the era of Trudeaumania.
As leaders who were both captivating and confident, the play used the popular mentality resonating with the Trudeaumania generation to stand for the Caesar phenomenon of 44 AD. At times it was stronger set than others; for example, during Caesar’s funeral the actors had integrated themselves into the audience and would shout during both Brutus and Antony’s addresses. References to Knowlton Nash and CBC radio footage were sprinkled rather lightly throughout the piece but were immediately identifiable by audience members present from that era in Canadian history. For a Winnipeg performance with such a clear adaptation choice, I found the identifying references perhaps too few and far between, especially given the very deliberate pre-performance introduction offered on SIR’s website.
Despite an introspective look at the events encircling the Black October crisis given a Roman twist, the melodramatic fight scenes dispelled the heavy weight that the drama carries. The build up to these scenes tended to have limited pay-off, specifically Caesar’s demise that is followed immediately by intermission and several quick one-liners by Miller and Hughes. Even the dramatic conclusion of the play felt stagy and quite forced.
Steven Ratzlaff as Julius Caesar; photo credit Leif Norman
From his very first stride, Steven Ratzlaff provided a commanding performance as the title character with a Trudeau twist. Ratzlaff tended to portray the Roman Emperor with more ambition than arrogance, but also displayed the subtle vulnerability of a great leader. In conversations with his wife Calpurnia, played by the maternal Michelle Boulet, he reluctantly agrees to not go to Senate, but his ambition throws him when he realizes the negative impact that would have on his image.
Overall, the female characters carried their weight. Notably, the character of Cassius has been altered in order to portray a female character in the role. With a dagger broach, Marina Stephenson Kerr provides a commanding and conniving edge to the plotting Roman senator. Undermining but convincing Brutus, as played by a strong yet reluctant Kevin Klassen, she uses her sly speeches to persuade Brutus that killing Caesar for political reasons would benefit Rome.
During every interlude as the audience gathered their chairs and belongings to move from scene to scene, stories could be heard reminiscing about the ‘starter days’ of SIR and their endeavours. From moldy chairs to rainy days, to mud trails to a plethora of mosquitoes, the company has come a long way in pursuit of a truly unique theatrical experience.
The blankets of charming scenery provided by the park only benefit Constible’s deliberate staging of the piece. With the sun setting on the fall of Caesar, to the grit of the gravel during the war scenes, the Ruins add a tremendous amount of value to the play that was written so many centuries ago.
Perhaps in the wake of the second wave of Trudeaumania, with a valiant Justin continuing in his father’s steps, reflecting on the dark days of Canadian history is most poignant now. Trudeau, with the charisma of a Caesar in his day, advocated the rights of all citizens and though reluctant, took them away for a time with the War Measures Act with the famous line “Just watch me.” He will be remembered for his legacy of grace under pressure.
Julius Caesar by William Shakespeare, presented by Shakespeare in the Ruins at the Trappist Monastery and Provincial Park, St. Norbert. Showtimes: June 6-June 29, 7:30 pm with matinees on Saturdays and Sundays at 2:30pm.
All Hail Trudeau… I Mean Caesar
Columns
Julius Caesar by William Shakespeare, presented by Shakespeare in the Ruins at the Trappist Monastery Provincial Heritage Park, Thursday June 6, 2013
Reviewed by Stephanie Adamov
During their twentieth anniversary, Shakespeare in the Ruins welcomes audiences back to their home at the Trappist Monastery Provincial Park. It is the second time in ten years that they have been able to perform their works in the presence of the monastery monuments. Up until last year, the park has been patiently awaiting the completion of the renewal process of the historical site. Though the company found temporary refuge in Assiniboine Park, the Monastery lends itself well for a theatrical retreat. Greatly anticipated and with much gratitude, the company welcomed their patrons for the opening of the new refurbished space to present Henry V last year.
On June 6th, with an equal amount of enthusiasm and warmth, the company welcomed the audience for Julius Caesar. As mentioned in the first address of artistic co-chairs Michelle Boulet and Kevin Klassen (both of whom appear in the show), many of those who first founded the company were present in the audience. The co-chairs expressed gratitude to all the patrons who have appeared over the years, and with displayed the ultimate joy of being back to their home at the park for the anniversary season.
Presented in promenade style, this unique theatrical experience allows the audience to physically travel with the actors from scene to scene. Tremendously animated were Ryan Miller and Toby Hughes, who filled the role of tour guides for the audience during transitions. Though the two particularly talented and exceedingly animated improv actors were able to grip and maintain audience interest and anticipation during the walk, this activity distracted and detracted from the drama of the Bard’s piece on more than one occasion.
For the first time in their performance of Shakespeare’s work, the company is performing Julius Caesar. Written in 1599, the play depicts the assassination of the self-made Roman Emperor Julius Caesar by Brutus as well as fellow senators. The action continues in Act II to present the aftermath of those events. The 140-minute play revolves around the themes of political persuasion, as well as the accountability of those in power.
Sarah Constible fills the director’s chair for this production. The interpretation presented attempted to link Caesar to the very charismatic Canadian prime minister Pierre Trudeau of the 1960s and 70s. At times this interpretation felt forced into the production. This was particularly so in the second act where the play seemed to fall into the Roman adaptation rather than keeping with the 1970 events surrounding Black October. However, the nine performers were perfectly robed in Wanda Farian’s designs that instantly thrust the audience back into the era of Trudeaumania.
As leaders who were both captivating and confident, the play used the popular mentality resonating with the Trudeaumania generation to stand for the Caesar phenomenon of 44 AD. At times it was stronger set than others; for example, during Caesar’s funeral the actors had integrated themselves into the audience and would shout during both Brutus and Antony’s addresses. References to Knowlton Nash and CBC radio footage were sprinkled rather lightly throughout the piece but were immediately identifiable by audience members present from that era in Canadian history. For a Winnipeg performance with such a clear adaptation choice, I found the identifying references perhaps too few and far between, especially given the very deliberate pre-performance introduction offered on SIR’s website.
Despite an introspective look at the events encircling the Black October crisis given a Roman twist, the melodramatic fight scenes dispelled the heavy weight that the drama carries. The build up to these scenes tended to have limited pay-off, specifically Caesar’s demise that is followed immediately by intermission and several quick one-liners by Miller and Hughes. Even the dramatic conclusion of the play felt stagy and quite forced.
Steven Ratzlaff as Julius Caesar; photo credit Leif Norman
From his very first stride, Steven Ratzlaff provided a commanding performance as the title character with a Trudeau twist. Ratzlaff tended to portray the Roman Emperor with more ambition than arrogance, but also displayed the subtle vulnerability of a great leader. In conversations with his wife Calpurnia, played by the maternal Michelle Boulet, he reluctantly agrees to not go to Senate, but his ambition throws him when he realizes the negative impact that would have on his image.
Overall, the female characters carried their weight. Notably, the character of Cassius has been altered in order to portray a female character in the role. With a dagger broach, Marina Stephenson Kerr provides a commanding and conniving edge to the plotting Roman senator. Undermining but convincing Brutus, as played by a strong yet reluctant Kevin Klassen, she uses her sly speeches to persuade Brutus that killing Caesar for political reasons would benefit Rome.
During every interlude as the audience gathered their chairs and belongings to move from scene to scene, stories could be heard reminiscing about the ‘starter days’ of SIR and their endeavours. From moldy chairs to rainy days, to mud trails to a plethora of mosquitoes, the company has come a long way in pursuit of a truly unique theatrical experience.
The blankets of charming scenery provided by the park only benefit Constible’s deliberate staging of the piece. With the sun setting on the fall of Caesar, to the grit of the gravel during the war scenes, the Ruins add a tremendous amount of value to the play that was written so many centuries ago.
Perhaps in the wake of the second wave of Trudeaumania, with a valiant Justin continuing in his father’s steps, reflecting on the dark days of Canadian history is most poignant now. Trudeau, with the charisma of a Caesar in his day, advocated the rights of all citizens and though reluctant, took them away for a time with the War Measures Act with the famous line “Just watch me.” He will be remembered for his legacy of grace under pressure.
Julius Caesar by William Shakespeare, presented by Shakespeare in the Ruins at the Trappist Monastery and Provincial Park, St. Norbert. Showtimes: June 6-June 29, 7:30 pm with matinees on Saturdays and Sundays at 2:30pm.