Julius Caesar Must Die

Julius Caesar Must Die is a little misleading, as initially it appears to be an absurdist original dramatisation of the assassination of Julius Caesar. Although, despite only being ‘based’ on William Shakespeare’s play, it is pretty much a shortened version of the Bard’s Julius Caesar.

Aesthetically interesting

As the senators plan to give Julius Caesar (Nathan Young) the keys to Rome, a group of conspirators led by Cassius (James Hay) and Brutus (Alisdair Halkett) plot to make sure that the spirit of the republic is protected.

Because the play is essentially an overview, there are a lot of gaps that we have to fill in for ourselves. Some scenes feel very rushed and repetitive as the focus on the conspirators means that we’re constantly seeing some form of the same argument being hashed out, namely Cassius convincing Brutus to join the plot and expressions of Brutus’ reluctance, over and over again. I understand trying to remain in the spirit of Shakespeare’s play, but the combination of the lack of time and decision to show the entirety of events surrounding the Ides of March means that we’re left with an incredibly brief overview. This lack of depth and hurried pace means that there just isn’t time to explore any themes that are introduced, and that there isn’t any real time for significant character development, making them all rather-one dimensional.

Felicity Anderson-Moore’s costume design is visually stunning in its uniformity, giving us pause for thought. Through it she shows the different loyalties and camps that are drawn up, so we spend a significant amount of time trying to figure out what each character's costume says about them. We probably learn more about the characters through their costumes than anything that is said onstage. The costumes themselves are reminiscent of French revolutionaries, with the berets and ribbons forming an ‘X’ across the chest, and each character has a different colour that denotes their position and loyalties. Edoardo Berto’s movement sequences within the play are hypnotising and visually satisfying. He presents more stylised battle and fight sequences that give more clarity to otherwise chaotic events.

There is a lot of gravity in the cast’s performance, which show an impressive understanding not only of the play, but of the history behind it and its consequences. Halkett admirably tries to convey Brutus’ internal conflict over the course of the play, which does evoke some sympathy for the character.

This adaptation is a very aesthetically interesting, especially in the stylistic aspects of its movement and costume design. It’s slightly hampered by the fact that the techno and coloured lights from the start set a different tone to the one that Julius Caesar Must Die ends up taking.

Visit Show Website

Reviews by Katerina Partolina Schwartz

Since you’re here…

… we have a small favour to ask. We don't want your money to support a hack's bar bill at Abattoir, but if you have a pound or two spare, we really encourage you to support a good cause. If this review has either helped you discover a gem or avoid a turkey, consider doing some good that will really make a difference.

You can donate to the charity of your choice, but if you're looking for inspiration, there are three charities we really like.

Mama Biashara
Kate Copstick’s charity, Mama Biashara, works with the poorest and most marginalised people in Kenya. They give grants to set up small, sustainable businesses that bring financial independence and security. That five quid you spend on a large glass of House White? They can save someone’s life with that. And the money for a pair of Air Jordans? Will take four women and their fifteen children away from a man who is raping them and into a new life with a moneymaking business for Mum and happiness for the kids.
Donate to Mama Biashara now

Theatre MAD
The Make A Difference Trust fights HIV & AIDS one stage at a time. Their UK and International grant-making strategy is based on five criteria that raise awareness, educate, and provide care and support for the most vulnerable in society. A host of fundraising events, including Bucket Collections, Late Night Cabarets, West End Eurovision, West End Bares and A West End Christmas continue to raise funds for projects both in the UK and Sub-Saharan Africa.
Donate to Theatre MAD now

Acting For Others
Acting for Others provides financial and emotional support to all theatre workers in times of need through the 14 member charities. During the COVID-19 crisis Acting for Others have raised over £1.7m to support theatre workers affected by the pandemic.
Donate to Acting For Others now



The Blurb

Conspirators flood Rome, while Caesar’s lust for power threatens the crumbling democracy. Murderous whispers send the city spinning out of control as violence, lies and superstition lead to brutal civil war. Who knows what the future will hold for Rome. Will the people be freed from tyranny or will they simply fall victim to the endless game of power? Caesar must die for the good of the people… but will his legacy share the same fate? This adaptation stabs at the heart of freedom, and the decisions we make to preserve it, no matter the cost.

Most Popular See More

The Lion King

From £42.00

More Info

Find Tickets


From £21.00

More Info

Find Tickets

The Phantom of the Opera

From £27.00

More Info

Find Tickets

The Book of Mormon

From £24.00

More Info

Find Tickets

The Play That Goes Wrong

From £15.00

More Info

Find Tickets

The Mousetrap

From £30.00

More Info

Find Tickets