Without changing any of Shakespeare’s classic text, Studio Theatre Club have skilfully managed to make Julius Caesar (a play penned 418 years ago, and set in excess of 1,600 years earlier) as relevant as it would be if it were to premiere today. Togas are abandoned in favour of modern military uniforms, scrolls for smart phones, and swords for knives or guns. Although in name the setting remains in Rome and Philippi, the performance would be equally at home in the politically turbulent capital cities of the United Kingdom and America.

Director Philip Shepherd has created a highly immersive production without the need for a complex set through actor placement, unobtrusive use of everyday sounds (recorded by Dan Booth), and realistic lighting (set up by Jon Viner). Famous lines of dialogue are delivered by all performers with sophisticated subtlety, which is an unexpected but very welcome treat outside the confines of professional theatre. With specialised military kit on loan to the society from HMS Collingwood RSC, Costume Designer Stephen Briggs has shown meticulous attention to detail in ensuring the cast are visually cohesive. Name labels on individual uniforms are a clever touch in a play with a large number of smaller roles which can be difficult to distinguish, and notable civilians are also tastefully bedecked in similar cream linen suits or silk pyjamas.

The great politician and military general Julius Caesar returns from war to crowds of supporters and revels in their obsequious adulation. Fellow senators, Cassius and Brutus, believe Caesar holds too much power, both through the plebeians that idolise him, and in his supposed aspirations to become Emperor. Ignoring the warnings of both a local soothsayer, and his wife Calpurnia to “Beware the Ides of March”, Caesar falls victim to the conspirators who have plotted his murder. Mark Antony gives a funeral oration to the people of Rome, questioning the motives leading to Caesar’s demise which incites a riotous mob. Brutus and Cassius are forced to leave the city; a move which leads to bitter consequences.

Mark Antony’s speech to the plebeian rabble following Caesar’s murder is exceptionally well crafted, with actors forming the crowd situated in the and around the auditorium, allowing Charlie Vicary (Antony) to address the audience directly. This is an enveloping experience not dissimilar to performances in the round, which would ordinarily be impossible to stage in a traditional theatre such as The Unicorn. Antony’s ability to rouse the masses feels wholly legitimate thanks to Vicary’s impressively compelling emotional range.

Jon Shepherd and Francesca Richards deliver some truly striking duologues as Brutus and Cassius through their excitingly complex characterisation of the two roles, their injurious interactions becoming ever more threatening with the passage of time. Richards has perfected the waspish hard-stare, which frequently gives more away than any number of words. Conversely, Shepherd’s eloquent intensity amplifies Brutus’ impulsive spontaneity. Brutus’ attendant, Lucius is faithfully interpreted by Kat Steiner, adding depth to both of their personalities, and contrasting drastically with the elegantly volatile desperation of Brutus’ wife, Portia (performed by Elena Wright).

Julius Caesar is portrayed with refreshing sensitivity by Stephen Briggs, and joined by Kath Leighton as Calpurnia in a genuinely affectionate meeting which leaves Leighton abandoning the scene in plausible frustration.

All the remaining actors effectively characterise a number of different roles, with memorable renditions including Rory Morrison as Cinna (the poet), Erin Burns’ ethereal soothsayer, Matt Kirk as the witty cobbler, and Matt Fifield’s Octavius.

Poignantly one of the few musical elements of the performance comes in the form of a famous swooping cadence from the theme to 2000’s epic historical drama Gladiator ('Now We Are Free' by Hans Zimmer and Lisa Gerrard) which is used sparsely to heighten the deaths of key players. This stirring tune and events unfurling in the historical tragedy of Julius Caesar are neatly packaged and delivered by Studio Theatre Club in an ingenious production which is sharp, mature, and punctuated with relatable references. I urge you to book tickets now and help “MAKE ROME GREAT AGAIN”!