Oregon Shakespeare Festival’s production of ‘Julius Caesar’ offers correlations, lessons

Scholars often attribute Shakespeare’s works to his keen observation of and fascination with history and how it repeats itself. It’s the fact that history repeats itself, however, that makes his stories so relevant today.

When you enter the Angus Bowmer Theatre at Oregon Shakespeare Festival to see Shakespeare’s “Julius Caesar,” you will be impressed by the dark, foreboding set, the stark, gray edifices, but more importantly — you’ll be transfixed by the familiarity of the story. It is a production that is intended for you to experience, not observe. It’s a story that comes with several warnings, the most infamous being “Beware the Ides of March.” 

This is Shakespeare’s bold, in-your-face telling of a familiar story: a leader who may be becoming too powerful; a leader whose closest comrades and senators fear, is capable of crowning himself king. Julius Caesar is a Roman dictator who has returned to Rome in triumph after a military victory. He is popular with some of his people and considered to be a danger to the republic by others.

This is a drama filled with espionage, betrayal, personal tragedies, divided loyalties and bloodshed. It’s not for the little ones. It is a situation that causes senators to turn on one another and comrades to betray one another. It’s a production disturbing yet powerful to its core.

Last season, Director Rosa Joshi and a number of talented women and nonbinary actors put on a staggering production of Shakespeare’s “Coriolanus” at OSF’s Thomas Theatre. It was exhilarating, with masterfully choreographed fight scenes, innovative lighting and jolting sound effects. Joshi has brought it all to the Bowmer, where the stage and production become larger-the-life.

Some of the same, talented production crew from “Coriolanus” have followed Joshi, bringing a heightened level of magic to this production: Alice Gosti, movement director; U. Jonathan Troppo, skilled fight director; and Sara Ryung Clement, period costume designer. Along with them is Geoff Korf’s ominous lighting, Palmer Hefferan’s eerie musical undertones and Luciana Stecconi’s scenic design. It all works.

The irony is the story really isn’t about Julius Caesar, but about the terrible dilemma his friends and cohorts find themselves in. How do they save the republic? Cassius, played by Caro Zeller, thinks he has the answer. Zeller plays Cassius with consternation and determination, leading other senators in a plot to take Caesar out. Kate Hurster, a conspiring and conflicted Brutus, eventually joins Cassius, and the game is on.

Kate Wisniewski, whose Menenius was fatherly and charming in the role of Coriolanus’ father last year, presents us with a portrayal of Caesar that is overly meek, almost resigned in this one. 

Caroline Shaffer makes an impression as Calpurnia, Caesar’s prophetic-dreaming, distraught wife. Betsy Schwartz draws sympathy as Portia, Brutus’ suicidal wife. 

Jessika D. Williams plays a shrewd Mark Antony. All the cast members bring the right amount of tension to the debates, fight scenes and military marches.

Correlations are often drawn from Shakespeare’s plays to what was happening in his time. There are correlations that can be drawn to what is happening in ours, too. 

“Julius Caesar” offers lessons. One is that we fragile human beings often cannot come to an understanding about how best to govern or be governed. History shows this failure has brought down nations. “The fault dear Brutus,” surmises Cassius “is not in our stars but in ourselves …”

Performances of OSF’s “Julius Caesar” are scheduled to run through Oct. 26, in the Angus Bowmer Theatre. Tickets start at $36. The OSF campus is located at 15 S. Pioneer St., Ashland. Showtimes, ticket prices and information available at osfashland.org or at 800-219-8161. Group discounts available.

Reach Ashland-based writer Lucie K. Scheuer at LucieScheuer19@gmail.com.