‘Julius Caesar’ at The Players’ Ring

The Players’ Ring in Portsmouth is in the midst of its annual Shakespeare offering, and this year they give us “Julius Caesar.” This show might have the same title and text as any other “Caesar” you’ve seen, but that’s where the similarities end. One of Shakespeare’s few historically factual plays, “Caesar” is based on the Roman leader’s assassination by his Senate. The last stab is administered by his beloved friend Brutus—the only person not acting out of envy or ambition, but out of fear for what Caesar has become.

This play may be the single most brilliantly executed and relevant performance I’ve seen in the last six years. Director Christine Penney turned this 410-year-old play into a commentary on modern politics with brutal, stark truthfulness. She is as fearless as she is talented, and the payoff for the audience is as gratifying as it is scary.

It’s a gender-blind production, meaning Penney didn’t cast characters based on their sex but on how well they fit the role. The play is set in modern times, and Caesar is played by a woman (Joi Smith). It makes not only for an extremely interesting take on the piece, but also allows Penney to sneak in some comments about our present society.

The first thing you see in the play is a crack security team followed by mighty Caesar striding onstage for a press conference with her husband Calpernia (Gib Palmer, in another gender-flipped role) as paparazzi chase after them. The one question Caesar takes is from the Soothsayer (Rich Harris), dressed as a homeless man, who begs her to beware the Ides of March. Caesar dismisses the warning, even if Calpernia can’t.

Several other cast members offer magnificent performances, including Danica Carlson as Decius Brutus and Octavius Caesar (many cast members play multiple roles); Robin Fowler as Tinnitus; Kevin Baringer as Cinna the Poet; Harris as the Soothsayer; and Glenn Provost as Casca, to name a few.

Another gender-flip is the show’s lead, Marcus Brutus (Whitney Smith). She carries the show, with Caesar’s murder weighing heavily on her mind as she receives counsel from Cassius (Dan Beaulieu). Cassius is greedier than Brutus but shares her feelings more closely than any of the other conspirators. Still, they clash more than once. Beaulieu gives us a passionate and ambitious Cassius, but he also lends the show most of its comedic moments without breaking the drama.

Mark Antony (the imposing Scott Caple) initially agrees to go along with the assassins but quickly turns on them, spinning public opinion and the common man against them. War between Mark Antony and Brutus’ camp ensues.

Penney occasionally uses the centuries-old text to take pokes at topical issues. Brutus’ spouse Portia is not gender flipped but is played by the gorgeous and gifted Liz Krane, yet there is no mention of lesbianism, no “life partner” terminology. Penney lets their marriage be shown as simply that—a marriage.

Krane exquisitely shows us sexual longing, loneliness, desperation and hysteria. Her Portia has a waiflike, ethereal quality, which, against Brutus’ commanding, earthy strength, explodes into sexuality reminiscent of Stanley screaming for Stella in “A Streetcar Named Desire.” Portia and Brutus don’t just love each other, they desire each other, soul, flesh and bone.

Mike Kimball’s sound effects coupled with Aaron Hutto’s resplendent scenic and lighting design create a majestic land for this piece of art to unfold on. Hutto is as creative with his tools as his director, and his set gives us a taste of ancient Rome.

Ultimately, the vicious battle between Mark Antony and Brutus’ camp brings about the end of many things. And yet, at the end of the show, despite all that has occurred, the circumstances are pretty close to where they were when we started.

“Julius Caesar” runs through June 21 at The Players’ Ring, 105 Marcy St., Portsmouth. Performances are Fridays and Saturdays at 8 p.m., and Sundays at 7 p.m. Call 603-436-8123 for reservations.