Julius Caesar

With a few useful sound effects to set the stage--a fanfare of trumpets, the clash of swords or thunder--and a few sections summarized to ease the transition from stage to radio, this CBC production is quite accessible. Early on, the production is somewhat muted; lines are delivered more quietly, and less anxiously, than one might expect when murder and portents are being discussed. However, the later sections are striking. The complex crowd scenes come through clearly, and Mark Anthony's famous "Friends, Romans, countrymen" speech at Caesar's funeral is delivered in rich tones that wring from it every ounce of irony and drama. G.T.B. (c) AudioFile 2004, Portland, Maine

The challenge of Julius Caesar isn't just historical; it is intensely political. The play's primary scenes address civic virtue; their success depends on their communicating the conflicting currents in Caesar's very lively Rome (and Shakespeare's equally active England). Happily, this production succeeds in all of these areas. The entire cast is strong, and Adrian Lester plays Mark Antony with genuine power. Even if you've heard it before, his delivery of the famous "Friends, Romans, countrymen" speech should stop you in your tracks. What's more, the potentially confusing crowd scenes aren't merely clear (listeners can actually tell who's speaking) but work dramatically, an achievement that isn't easy in audio productions. G.T.B. [Selection from The Complete Arkangel Shakespeare set.] (c) AudioFile 2004, Portland, Maine

Part of L.A. Theatre Works' The Play's the Thing series, this production is a stellar example of the ensemble's talent. There's a perfect balance between human voice and background music/sound effects. The all-American cast provides a fresh and equally professional approach to this classic, which is typically performed by British actors. In addition, the production quality is excellent; the depth of the "stage" seems apparent as audiences hear actors at different volume levels, which helps to suggest their proximity to the main character in each scene. Overall, JULIUS CAESAR is a wonderful addition to any audio theater library. R.A.P. (c)AudioFile, Portland, Maine

Stacy Keach's quietly sonorous voice is perfectly suited to the introspective Brutus in this fine full-cast recording. John de Lancie, too, is excellent as Cassius, though Richard Dreyfuss is less convincing in the role of Antony. He doesn't quite capture the restrained outrage of Caesar's most loyal friend, or the irony of his famous funeral oration. At times, it sounds as though the director has rushed the actors in this recording, and the many crowd scenes are a bit awkward, sounding more like scenes of football fans than plebeians. Overall, though, this recording can't help but succeed on the strength of its all-star cast. D.B. (c) AudioFile 2000, Portland, Maine

In this classic play, Brutus grapples with his own loyalties--is he devoted to Rome or to Caesar? How best to serve one's homeland? This production works a kind of magic, lending realism to the struggles within. Ambient background noise creates three-dimensional scenes without overwhelming the actors, whose understanding of the material makes the timeless prose contemporary. The play offers a fast pace; thankfully, the performers' phrasing and superb enunciation keep the listener close. Especially enjoyable are the moments that have transcended time to remain a part of our language and culture. For example, we are reminded that Ò[c]owards die many times before their deaths; the valiant never taste of death but once.Ó L.B.F. © AudioFile 2012, Portland, Maine