Theatre | The Guardian: I arrive in the aftermath of an assassination. Actors are rehearsing the panic following Julius Caesar’s murder. Some stand aghast, while others scamper – and kneeling at their centre, cradling the dead emperor, is Brutus, his former ally who delivered the unkindest cut.
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Teixeira’s comments are very articulate and insightful. I’m only familiar with a few scenes from Julius Caesar, but I can imagine that bringing the topic of intersectionality into a production would completely change the game. Old and still ever-present themes like corruption, power, politics, and change are definitely enhanced by reviewing them through a modern-day lens. Brutus is definitely a very charismatic character with strong convictions, so it takes a really strong actor to play that role, and I love seeing a Black woman take on that position rather than, as the article says, “another white man in a toga.” I also like that this production isn’t “sneaking in” a Black woman who then acts the role the way it is traditionally played, through a masculine lens; instead, the play is fully exploring the implications of how the world looks now, and hwo that influences this story of what the world looked like then.
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