"Think of the World:" Ritz's Julius Caesar is Bloody, Brilliant Shakespeare
by Don Toal
There is a clear reason why, more than any other works of classical theatre, the plays of William Shakespeare have persisted for centuries. They were written not only to entertain, but to explore ideas relevant to people from all walks of life, from kings to groundlings (the period term for the common folk). Those ideas, for good or for ill, never stop being relevant.
The team at the Ritz Theatre Co in Haddon Township has clearly understood this with their selections for this season. Hot on the heels (pun intended) of Kinky Boots and Angels in America–both shows with crucial messages for the modern world we now find ourselves in–the theatre has adapted one of Shakespeare’s classic tragedies, Julius Caesar, a study of ego and ambition that is just as poignant and compelling in 2025 as it was in the days of Ancient Rome. Spoilers for anyone not up to date on the Roman Empire–if you’re a title character in a Shakespearean tragedy, the odds are not in your favor.
But the directing duo of Peter Herrick and Brian K. Herrick understands innately how to translate these historical figures into a modern context, presenting them not as the larger than life legends history paints them to be, but as grounded, flawed, and deeply human individuals. This approach was instilled into each and every cast member, creating nuanced performances that are three-dimensional and captivating. Their approach to staging is organic and dynamic, with every cross and move steeped in purpose, preventing the lengthy speeches that are an entry barrier to some Shakespeare newbies from ever becoming stagnant.
The timeless nature of this play extends to the Herricks’ creative vision, with all designers collaborating to create a setting that is not quite Rome, not quite the present day, but a grey area blending elements and influences of both. Megan Iafolla’s costume design exchanges conspirators’ cloaks for trench coats and evokes Caesar’s toga by fitting the emperor in a pristine white suit and deep purple sash, with each and every look giving their character a clear role and status. This is highlighted further by a notable touch–each character (save for a privileged few) bears a serial number prominently pinned over their clothing. This detail, while obviously never referenced in the original text, highlights the controlling nature of Caesar’s regime, and leads the audience to question the dystopian warning signs staring them in the face.
Will Bryant’s unit set design is defined by mighty Roman columns and a realistically textured forest glade, providing a perfect base backdrop for the many different locations visited throughout the play. This allows a variety of levels and spaces not only for the performers to play with, but also for Jen Donsky’s impactful lighting design, making bold use of color and illumination to not only establish clear time and place, but to draw the audiences’ eyes to asides, soliloquies, and moments of supernatural importance (every Shakespearean tragedy gets at least one). Properties designed by Tracy Jones blend well with the set, with both Caesar’s golden elephant idol and his funeral viewing (I told you there were spoilers) standing out as impressive visuals. Stage Manager Tara Romanelli and her run crew Natalie Jewell and Gabe Slimm keep the show running like clockwork, with every cue precisely called and transitions managed swiftly and seamlessly.
Special compliments should be paid for fightwork and sound design here, two of the strongest production elements in this reviewer’s opinion. Romans sure do love their knives, and the fight choreography team of Sean McGarry and Dominic Ciarrocchi makes certain that every slash, stab and skewer is executed with safety, precision, and a keen eye for clear visuals, not to mention appropriately brutal results (those blood squibs certainly flew far at the opening night performance, to great effect). The soundscape designed and executed by Brian Gensel (with original music contributed by cast member W.D. Fordy) blends beautifully with the actors’ dialogue, using underscoring to magnificent effect and establishing tension, stakes, and sweeping epic tone without ever overpowering their performances.
And those performances certainly are not ones to be overpowered. As the titular Caesar, Joe Mooney brings a gravitas to the role befitting a ruler at the center of a cult of personality. Mooney’s nuanced delivery commands attention, establishing him not only as a charismatic and credible leader, but a shrewd and confident man blinded by his own privilege.
Johnny Fernandez’s performance as Marcus Brutus is similarly compelling. The strain of Brutus’ internal conflicts and strong moral convictions weighs heavily on every gesture and expression Fernandez delivers. This is a man burdened by trying to do the right thing not for himself, but for Rome, and his dialogue is bursting with expressive inflection choices that convey meaning and subtext organically and relatably.
Equally skilled with the text is the orator Marc Antony, portrayed with grace and fire by Bobby Kramer. Kramer effortlessly uses his language to inspire and evoke emotional responses, both in the people of Rome and the audience themselves. The scene where he confronts the Roman populace with the consequences of Caesar’s brutal assassination–the famous “Friends, Romans, countrymen” bit–was masterfully staged and paced, and as engaging and stirring as it was raw and uncomfortable to witness.
Doc Horvath’s work as Caius Cassius is characterized by a hungry ambition and a calculating way with words. Cassius’ history and bond with Brutus is clearly portrayed in the pair’s scenes together, and Horvath eagerly enjoys the moments where they persuade Brutus to take up the conspiracy. Their soliloquies are delivered with wry cleverness and crisp diction in equal measures, giving a clear stake in what lies ahead should their plot fail.
While Shakespeare’s Julius Caesar has the second fewest lines by women out of all his works, the female supporting roles are no less relevant to the show’s themes and no less deep in their characterizations. Marissa Wolf’s Calpurnia is a woman haunted by paranoia and dreams of ill omen, and her concern for her husband Caesar’s safety shows the massive target his power puts on his back. Her scene offers a chance to see another facet of Caesar’s humanity, and her impassioned, desperate performance drives this point home.
As Brutus’ wife Portia, Ash Kotter portrays a woman of fierce devotion and convictions just as terrifying as those of the conspirators. She establishes a magnetic connection with Fernandez, and uses their scene to highlight not only the depth of their relationship, but also the frustrating struggles of a woman kept in the dark by her husband’s secrets. She makes the absolute most of her time on stage, with every gesture steeped in intensity and focus.
The rest of the supporting cast also makes the most of each moment, ensuring no talent is wasted. Christopher Eklund provides an unexpected bit of comedy as the gossipy aide Casca, making bold choices that added levity and layered commentary onto the Roman political structure. Daniel Marotta does double duty as the famous orator Cicero and Antony’s loyal ally Lepidus, each portrayal adding nuance and depth to the power structures at play. The Roman Tribunes Flavius and Marullus (portrayed by Aneesh Kanthan and Hannah Anderson, respectively) start the show off strong, clearly conveying valuable exposition while also highlighting the hypocrisy of those in power. Cassius and Brutus’ fellow conspirators, including Cinna (James Van Nostrand, also doubling as Octavius), Metellus Cimber (AJ Klein), Decius (Hillary Kissinger), and Trebonius (John Horton, Jr.) all each bring their own driving forces to the plot to murder Caesar, whether that be shrewd cunning, steadfast loyalty, gifted eloquence, or righteous anger. Each one has their own agency and clear goals, establishing them as strong personalities on par with Cassius and Brutus. Kendall Collins brings a sincere innocence to Brutus’ servant Lucius that makes the final moments of the show truly impactful. And W.D. Fordy (who also doubles as the ill-fated Cinna the Poet) as the fateful Soothsayer is equal parts inscrutable and deranged, showering Caesar with cryptic prophecies (and the audience with crumbled fortune cookies–beware for those Ides of March!) in a delightfully inspired interpretation that is equal parts mystic and street-corner mad person. The combined result of this performance is a cohesive and committed cast, all providing their own unique stamp on the story as it unfolds.
These days, many theatres may balk at including Shakespeare in their season rosters, either for lack of confidence in the material or concerns that it will not attract enough of an audience draw to be profitable. But Peter Herrick and Brian K. Herrick understand what is needed to make these plays uphold the relevance that has always existed in them. Take a strong visual concept, a cast committed to putting in the work, and use both to focus on what is most important: to explore the human condition and all its features and faults. To say, as Antony remarks over the fallen Brutus: “This was a man.” Julius Caesar runs through March 30 at the Ritz. If you appreciate the power of theatre, you owe it to yourself to experience this production. You can purchase tickets here: https://www.tix.com/ticket-sales/RitzTheatreCo/6520
