Julius Caesar at Folger Theatre

Like one of the phantoms in Folger Theatre’s production, Julius Caesar revisits us to impart its message time and time again. And while Shakespeare’s tragedy is a familiar experience for some, the performances in this production set it apart–and above–many that have come before.

Director Robert Richmond places his Caesar against a somber, multi-level and stagnant set, in an era that feels part film noir, part ancient ruins.

A figure crouches low as the audience finds their seats, presumably a statue–but look closely and that statue breathes. This unsettling landscape sets the tone for what’s to come.

When the play begins, the ensemble is born from under grey shrouds, a shadowy host of players coming back, it seems, from the beyond to share the tale of their collective undoing.

Of course every significant character dies, and of course Caesar is the first to go. We know this going in. What grants the play its intrigue is the quandary that faces Brutus — to move ahead with the assassination of his friend, or to idle in frustration at his lack of leadership. Indeed, it runs an apt parallel to so many discussions in Washington: what is the least bad option, which scenario more livable.

The strength of Folger Theatre’s production lies in its universal attention to character. Apart from the townsfolk, who speak in unison and act as a human herd, each of the roles is granted admirable subtlety and depth.

Caesar–slick, sharkish, and obsessed with his own mythology–isn’t the most endearing character, but “the noblest Roman of them all” is not so unlikeable that we hope for his death. Pompous, sure.

If anything, we wish for him to recover from his self-absorption, but of course he’s not granted the time to be redeemed. Caesar falls victim to his ambition and to his ego, and Michael Sharon’s portrayal leverages the doomed ruler’s many faults with a core that feels more misguided than malicious.

Brutus, played by Anthony Cochrane, shows an eerie reserve in spite of the chaos around him. Mark Antony, by contrast, is bold in his grief and in his militaristic leadership in Caesar’s wake, and Maurice Jones does well to unify the seemingly disparate parts of Antony’s persona.

Chris Henley talks with director Robert Richmond and cast members of Julius Caesar

As the ferrety villain Cassius, Louis Butelli is impossible not to watch. As the puppetmaster of the conspiracy, it is often his voice whispering toxins into Brutus’s ear. And yet his relationship with Brutus becomes the most rewarding through its twists and complexities–from the moment he plants the seed of murder in Brutus’s head to their heartfelt forever farewell. The physicality of Cassius feels off, in a way perfectly suited to this character–like a sour note or gnarled limb to reinforce his twisted nature.

This production leans on the talents of its performers–and they are laudable indeed–rather than flashy scenic design or immaculate costume. This dynamo ensemble leaves little room to love or despise any of the play’s ill-fated characters, which serves as testament to their success. Because there’s a beauty, even a poetry, in that ambivalence. From the Soothsayer, played by a shadowy and phantasmagorical Nafeesa Monroe, to Maboud Ebrahimzadeh’s treacherous Casca, every character is haunted by something.

A fascinating exercise in empathy and humanity, as well as the more expected overtones of corruption, power, and ego. If ever a play was meant for Washington, this is it. The moment Folger’s production of Julius Caesar endears us to his team of murderers and conspirators is the moment the show has succeeded in its provocation, its complexities, and its caution to all who view it–beware more than the ides of March; beware the hasty and singular judgments from which rash actions unfold.

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Julius Caesar by William Shakespeare . Directed by Robert Richmond . Featuring Anthony Cochrane, Maurice Jones, Michael Sharon, Shirine Babb, Deidra LaWan Starnes, JaBen Early, Maboud Ebrahimzadeh, Joe Brack, Nafeesa Monroe, Robbie Gay, and William Vaughan. Set design: Tony Cisek . Costume design: Mariah Hale . Lighting design: Jim Hunter . Composer and Sound design: Eric Shimelonis . Fight director: Casey Kaleba . Produced by Folger Theatre . Reviewed by Jennifer Clements.