'Julius Caesar' makes play on American politics

February 14, 2008|Louise Kennedy, Globe Staff
(Page 3 of 3)

Some of this disconnection is just mildly distracting, as when Brutus refers to Lucius playing his instrument while the boy does nothing of the kind. (This musical interlude, like many others, is left to a charming but incongruous jazz trio, in this case crooning ‘‘Suicide Is Painless,’’ better known as the theme from ‘‘M*A*S*H.’’) But sometimes it’s more damaging: The actors often face out at us to deliver speeches that are clearly meant to engage them in intimate, eye-to-eye exchange. Thus when Cassius and Brutus say farewell for what they know may be forever, they don’t even look at each other.

Yes, it looks cool. And it says something about all of us playing a part on the world’s stage, or something. But it doesn’t give any real sense of human relationships or insights unfolding before us; that may be why it’s hard even to comment on the individual actors’ performances, because whatever they’re aiming for is subsumed in the larger conception of the production. Shakespeare had big ideas, too. But he knew we could only really see them if they appeared to us in human form.

Louise Kennedy can be reached at kennedy@globe.com.

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