Ambition (am’ bish’ un) n, a desire for power, superiority or excellence; strong desire of advantageous or creditable.

You may be aware that there is a red megaphone forging its way through the sea of Independent Theatre right now. The bright red megaphone is attached to the cherry red lips, framed by the flame red hair of Kate Revz. Kate Revz and a collective of emerging theatre makers are the powerhouse which is Cry Havoc. According to their website, programme and publicity materials: Cry Havoc is born out of a desire to share daring re-workings of the “great classic texts” with contemporary audiences.

The great classic “shoulders” on which Cry Havoc currently stands is Julius Caesar- written by Shakespeare in 1599- pre Macbeth, Hamlet, King Lear, Othello. A sensible choice as the namesake of the company exists in the text: “Cry, ‘Havoc!’ and let slip the dogs of war”- and sets the tone for the type of shows to come. And I have the distinct impression that this is not a “softly, softly, gently, gently” emerging of a company of young artists- this is the bold screaming breaking through of a company passionate about making work that challenges and excites them. Emerge is too gentle a word- its more like busting.

Shakespeare’s Julius Caesar is largely about the conflict between the personal and the public. Between the needs of the individual versus the greater populace. It is about the cost of ambition, the value of loyalty and the power (and responsibility) a person has to instigate change (for better or for worse). Shakespeare’s play is based on Plutarch’s history which talks of the reign of Caesar. And Caesar himself was an impressive leader- changing the Roman Republic into the Roman Empire though his conquests and political manouevering- namely the formation of “the First Triumvirate” which was made up of Caesar, Pompey and Crassus. Caesar did many great things for Rome- extended the Empire (Britain and Gaul) and was a well documented figure (see writings of Cicero and Catallus). He was well liked. And yet murdered by his friends and colleagues (the senate). Yes- the story of Caesar is a juicy one- and Cry Havoc’s production is certainly full of juice.

When entering the space – commonly known as the ATYP Studio 1 – we find ourselves amongst a perimetre of wooden boardwalk- fringed on one side by a tangle of plant life restrained by a metal chainlink fence, and with a platform which at the centre is a copper basin. A throng of actors- are muttering, writhing, demanding are in a sand pit surrounded by the wooden boardwalk. A figure in robes- the preacher- Julius Caesar aka Jim Jones is occasionally throwing water, declaring his power and occasionally “healing” the noisy throng.

A large banner is hung between the pillars of the space: “Those who do not remember the past are condemmed to repeat it”. (Theatre, I think, is full of repetition- rehearsals/performances/stories and Shakespeare is the most repeated of all playwrights).

Set against the backdrop of a Jonestown-like “Rome,” this is a dark and unsettling production. Jonestown was the site at which a mass sucide occurred in 1978 instigated by cult leader Jim Jones who lead his followers in drinking cyanide laced Kool-Aid. In the same vein, this Julius Caesar has mass hysteria and the fickleness of people at its heart.

The ensemble cast are an impressive sight- Revz has harnessed the time and talent of 15 young performers- who are brimming with energy, urgency and focus. Who are clearly enjoying bringing this production to life.

Set design by Lucilla Smith is simple and powerful, enabling many play spaces for the actors. Lighting by Charles Coy is very evocative- with mellow moonlight and occasional hiccuping lightning storms. Sound Designer Caitlin Porter perfects this triumvirate of design with an ecclectic sound design which reaches before and beyond the 1970s costumes.

One theatre reviewer once commented to me that the independent theatre scene seems to be perpetually auditioning for the mainstage theatres- mounting work that they hope will be seen and therefore picked up. Perhaps this is true- and if this is true for Cry Havoc- it is clear that this production and Cry Havoc itself does not offer competition to the mainstage- namely Bell Shakespeare company. There seems to be alot of synergies between the stylistic presentation of Cry Havoc’s Julius Caesar.

There is alot to admire in this contemporary reading- the daring, the scale, the robust and energetic performances, the high production values- and it is a hugely impressive acheivement of Revz and Co to forge and to excite audiences and practitioners about bringing the canon to life.

However I am left with a number of questions- one is about the model of re-envisaging this particular script – what is gained and what is lost by embuing Julius Caesar with the cultural baggage of Jim Jones?
Where do the parallels begin and end between these two historical figures? Caesar was made a deity- Jim Jones has certainly NOT been made a saint. Is this production ultimately saying something about Caesar’s leadership, by casting the light of Jonestown on Rome? What does this say to our generation (who were born after this mass-sucide) how does it speak to us here and now?

For me- the story that rings true is that all politics is personal- and that there can be no disconnect between the two. That Brutus’ decision to murder his colleague and friend for the good of Rome- ulitmately ends in disaster, chaos. That the personal (ie Cassius’s ambition born out of the possible dicontent at not being Caesar favourite) becomes political for everyone. What is the social cost of personal ambition?

A huge congratulations to Revz and the Cry Havoc collective who have dared to dream big, to give us an opportuntity to ask these questions- to interrogate what is possible… this is an impressive, epic production which is amazingly brave, robust and gorey which certainly shakes the dust off the revered classical tomes. Julius Caesar is a grand testament to the passion of emerging like minded artists to make theatre that is bold, risky and provocative.

Cry Havoc’s Julius Caesar
27th Oct- 14th Nov
ATYP Studio 1, THE WHARF, Pier 4/5 Hickson Road, Walsh Bay
Tickets: www.cryhavoc.com.au /(02) 9251 3900