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Cast and Creative Team
people, while increasing the stakes of the action and the impact of the tragedy. Shakespeare’s transformation of his source material is evident in an example: Plutarch mentions Brutus’s succinct rhetorical style and records only that Antony’s eulogy of Caesar “did greatly move [the people’s] hearts and affections.” Shakespeare, however, showcases the differences between Brutus and Antony to theatrical advantage, making their competing eulogies a turning point in the play. Brutus’s logical explanation gives way to Antony’s shrewd and memorable 130-line appeal to “Friends, Romans, Countrymen” that inspires the assembled crowd and has a calamitous effect on the events that follow.
At the same time that he explores significant political issues, Shakespeare is also concerned with character relationships and what they reveal not only Brutus’s uneasy alliance with Cassius and his disintegrating friendship with Caesar, but also the relationship each man has with his spouse. Structurally, the back-to-back domestic scenes contrast the military leaders in moments of spousal intimacy. When confronted with concern for their health and safety, Brutus is unwilling and withholding, while Caesar is initially affectionate and accommodating, thus complicating the audience’s view of each man, forcing a reconsideration of each. Even here the ground shifts and Caesar’s initial regard for his spouse’s prescient warning collapses when Decius mocks him for it.
While Shakespeare adapted Plutarch’s stories of Brutus and Caesar to comment on power and politics in early modern England, he seemed to anticipate, in Cassius’s lines, the play’s lasting impact:
How many ages hence Shall this our lofty scene be acted over In states unborn and accents yet unknown (3.1.112-114) As we present Shakespeare’s take on ancient Rome in downtown Worcester in 2021, our adaption seeks truth and authenticity in storytelling, togas with a modern twist and diverse casting that reflects our community and world, as we draw new significance from this enduring story. By Kathryn M. Moncrief, Associate Director and Dramaturg.
Costume sketches by Lex Liang. The Soothsayer on left page and Octavius’ messenger above right. Lex is the founder and owner of LDC Design Associates, an experiential event design and production company in NYC.
How the generosity of one couple inspired a grassroots fundraising campaign.
When Veronica and Howard Wiseman first heard about a production of Shakespeare’s Julius Caesar on the Worcester Common, they knew it was going to be something special.
“When [THT Rep Artistic Director] Olivia Scanlon told us about her vision for live outdoor theatre in the heart of downtown Worcester, free and open to the public, we were thrilled! The isolation of the past year has reminded all of us of the vital role that the arts play in our lives, bringing us together to take part in civic life, to celebrate art and culture and to build community.”
As longtime theatre lovers and philanthropists, the Wisemans knew just how challenging it can be to bring such an ambitious project to life. They wanted to make a significant contribution, but in a way that would underscore the idea of community that is central to this production.
“At its core, Julius Caesar is a play about civic life and community, and live theatre is a fundamentally communal event,” says Scanlon. “We wanted the idea of community to inform every aspect of the event, not just what you will see onstage, and to make it accessible and fresh and exciting for every person in the audience, whether it’s their first live play or their hundredth.”
To the Wisemans, that sense of community, of the arts belonging to all of us, is what inspires them to give. “Philanthropy has always been central to making art and culture possible, and maybe that’s why the arts bring out the best in all of us—our generosity, our imagination and the desire to be part of something bigger than ourselves…we hoped that our support would encourage others to take part in bringing this wonderful celebration of live theatre to Worcester.”
With the help of a $30,000 challenge grant offered by the Wisemans, THT launched a grassroots funding campaign, the Ides of March Match. THT Vice President of Advancement, Chris Marrion, saw this as more than just a fundraising opportunity. “The Ides of March Match was a way for us to reinforce that everyone is invited to participate in live theatre and to play a role in making it happen. We used all of the tools at our disposal to get our story in front of the most diverse audience possible... print, email, social media, radio and even an old school phoneathon. The response was tremendous.”
The campaign went live on March 15 (the Ides of March) with a goal of raising an additional $30k to match the Wiseman’s gift. In just two weeks, thanks to hundreds of generous donors, the campaign raised $60k, twice the original goal, with more than a quarter of the contributions coming from firsttime donors.
“This was an extraordinary way to kick off Julius Caesar” said THT President and CEO Troy Siebels. “Worcester is passionate about the arts, and there is no better way to celebrate the return of live theatre than with a production created especially for Worcester. We are so grateful to Veronica and Howard Wiseman and to everyone who helped to make this possible. This was truly a community effort.”
Veronica and Howard Wiseman
-Livy Scanlon, THT Rep Artistic Director
