Review of RSC's Julius Caesar at Bradford Alhambra

An explosive, eye-catching opening sequence, choreographed by movement director Jennifer Jackson, sees the cast perform an extended physical prologue to urgent, rhythmic music. Then we are straight into the action – Caesar (Nigel Barrett) has returned to Rome victorious after the war against Pompey. The Roman republic is planning to bestow new honours upon him, which concerns some of the senators who feel that he already holds too much power. Thus, the scene is set for the beginning of a conspiracy to murder Caesar as Cassius (Annabel Baldwin) manages to enlist the support of the well-respected Brutus (Thalissa Teixeira) whose initial misgivings are allayed by Cassius’ reasoning that the death of Caesar is for the good of the republic. That violent act inevitably leads to more violence and death as the tragedy unfurls.

There are some outstanding performances, most notably from Teixeira and Baldwin, as well as a number of well-staged set pieces which set the heart racing. The assassination of Caesar at the senate house on the Ides of March is laced with pertinent modern-day symbolism – the victim ‘bleeds’ black oil and his killers’ hands and clothes are covered in it for the remainder of the play. The rotating box set design is simple and effective and the local community chorus of six who perform alongside the professional company, representing a kind of other-worldly presence, are seamlessly incorporated into the narrative.

While the production is truly impressive in parts, there is a slight lack of cohesion and a tendency to favour style over substance which undermines the whole and lessens its impact. Given the current state of the world and the fact that the play is one of the most famous of all political thrillers, a biting investigation into the nature and corruptibility of power, it feels a little like a missed opportunity not to have made more of the contemporary resonances.

To May 6.