★★★☆☆
We know the story. We know the knife is coming. Yet the thrill of Shakespeare’s great political tragedy, Julius Caesar, lies not in the assassination of Caesar himself, but what follows. Bell Shakespeare’s production asks the question: Can one commit murder and retain any moral standing? Is there any such thing as an honourable assassination?
Written in 1599, Julius Caesar remains one of William Shakespeare’s most enduring explorations of leadership, loyalty and political manipulation. The play dramatises the real historical conspiracy against Caesar in 44 BCE.
Across centuries, it has remained uncannily relevant, often staged during periods of political uncertainty. Its famous speeches, particularly those delivered by Brutus and Mark Antony, continue to shape how audiences understand persuasion, rhetoric and public opinion.
The story begins in a Rome intoxicated by military victory. Caesar has returned triumphant, and the people celebrate him as their saviour. Yet within the Senate, unease grows. If Caesar accepts the crown, the republic may fall.
Persuaded by Cassius, Brutus joins a conspiracy to assassinate Caesar for what he believes is the greater good. Their violent act, however, unleashes a wave of chaos that the conspirators cannot control.
Director Peter Evans delivers a production that emphasises the fragile balance between democracy and tyranny. The Rome presented does not feel like distant history, but eerily similar to our own political landscape. The audience watches not simply a historical tragedy, but a cautionary tale about the seductive nature of power and the volatility of public opinion.
After seeing Brigid Zengeni give a memorable performance in last year’s Coriolanus, I was eager to see her version of Brutus – one of Shakespeare’s most morally complex characters. Her interpretation is thoughtful and deeply human, portraying a leader driven not by ambition but by conscience.
Zengeni anchors the production with a compelling performance that captures the internal conflict of a character who believes she is saving Rome, even as her actions lead it toward catastrophe.
Leon Ford provides a nice counterbalance as Cassius. Sharp, restless and politically calculating, Ford’s performance reveals the character’s keen understanding of power. His scenes with Zengeni crackle with tension as he carefully guides Brutus toward the conspiracy.
Septimus Caton brings a commanding presence to the role of Caesar, reminding the audience that Caesar’s greatest strength may also be his fatal blind spot.
Meanwhile, Mark Leonard Winter delivers one of the evening’s standout performances as Mark Antony. His funeral oration is handled with impressive control, building steadily from calm diplomacy to something far more dangerous as the crowd begins to turn.
Simone Romaniuk’s costume design places the characters in a contemporary political world, allowing the language to feel immediate rather than distant. Specifically, the beautiful, cream-white double-breasted suits are gorgeous to look at, and after the assassination, look completely different.
Amelia Lever-Davidson’s lighting design shapes the stage with stark contrasts, using horizontal angles to contrast with the vertical lines in the Roman architecture style set. Madeline Picard, as Sydney’s one-and-only resident sound designer, once again proves she is worth her weight in gold.
The rock anthem in the first act gives way to something more unsettling in the second act, adding a steady undercurrent of tension. While Tim Dashwood’s fight and movement direction ensure the production’s violent moments land with impact.
The beginning of Act 2, from the moment after the assassination to the end of Anthony’s speech with the riot, is masterful, the exact kind of theatre you expect from Bell Shakespeare.
The rest either felt like we were spinning our wheels waiting to get to the assassination or meandering around afterwards. I wanted to see the white suits become bloody; instead, it cut to black. The time jump to the Civil War felt like an entirely different play, while the final resolutions felt unsatisfactory.
That said, what makes Evans’ production compelling is its sense of inevitability. From the moment the conspiracy is formed, the audience understands that the republic’s fate has already been sealed. The tragedy lies not in Caesar’s death, but in the chaos that follows.
Bell Shakespeare’s Julius Caesar is intelligent, if occasionally uneven. Yet it reminds us that the conflict between power and principle is never confined to the past. In an age shadowed by political violence and assassination attempts, Shakespeare’s question feels chillingly immediate: can there ever be such a thing as an honourable assassination? The answer must surely be no.
Julius Caesar is presented by Bell Shakespeare Company and runs until 5 April at the Playhouse, Sydney Opera House, Bennelong Point Sydney NSW 2000.
It then transfers to Canberra and Melbourne. See dates below.
Tickets: https://www.sydneyoperahouse.com/bell-shakespeare/2026-season/julius-caesar
Website: https://www.bellshakespeare.com.au/
Socials: https://www.instagram.com/bellshakespeare/
Photo credits: Brett Boardman
2026 Australian Tour Dates:
Canberra: 10 – 18 April, Canberra Theatre Centre
Melbourne: 23 April – 10 May, Arts Centre Melbourne
