“Friends, Romans, countrymen, lend me your ears!”
Iconic. Evocative. Declarative. Historic. But even the canon, once considered untouchable, needs a little revamping and re-imagining. Who was obfuscated, overlooked or silenced in the classics that founded our dramaturgical literacies? What histories and what narratives have been excluded in our veneration of the monolithic, mono-focused classics?
To triumphantly usher in their 15th season, Pittsburgh Shakespeare in the Parks (PSIP) ambitiously endeavors upon a bold and historic re-envisioning of Shakespeare’s Julius Caesar. Thrust in the midst of the charged and fractious tumult of Caesar’s relentless ascent to power and the stunning fallout, The Tragedie of Julius Caesar was a formidable entry in Shakespeare’s oeuvre that formed a remarkable historical pastiche in Shakespeare’s First Folio along with Coriolanus and Antony and Cleopatra. Julius Caesar lyrically scrutinizes the follies and virtues of the most powerful men clamoring for power and questioning morality in the Roman Golden Era–Brutus, Marc Antony, Lepidus, and, of course, Julius Caesar himself–and excavates the ravishes of guilt and greed that so often plague those in power. But what dimensions or overtures of Shakespeare’s classic would change if put in the hands and played in the perspective of female-identifying actors and creative engineers?
Emphatically determined to not simply elevate and illustrate the myriad talents of women, but also declare women’s defiance and resilience with every production, PSIP Founder and Creative Director Jennifer Tober assembled a stellar team to radically redefine Julius Caesar. Pittsburgh-based artist and performer Elena Alexandratos expertly fills the roll of director of PSIP’s 14th production that will be staged in Frick Park (Sept. 7, 8, 28, 29), Highland Park (Sept. 14, 15), and Arsenal Park (Sept. 21, 22). Alexandratos, is an accomplished actor, singer and artist who has directed for Looking Glass Theatre (Fool of the World), Duquesne University’s Spotlight Productions (Into the Words) and co-directed both Shakespearean classics (Titus Andronicus) and Greco-Roman-inspired dramaturgy (Amphitryon) for her own theatre company Pandora’s Box Theatre. She fortuitously judged the Shakespeare Monologue Contest held at Pittsburgh Public Theatre alongside Tober, leading to Alexandratos submitting an idea to Tober and the PSIP board that would evolve into the female-driven Caesar.
Alongside long-time PSIP collaborators Lisa Leibering, serving as Production and Costume Designer, and Tonya Lynn, returning to PSIP as a gifted fight choreographer, Alexandratos crafted a Caesar that boldly confronts the virtual paucity of both female characters and female performers in the Shakespearean legacy. What became most striking and most critical for Alexandratos to focus on throughout the creative process was the transcendent talent of her actors and creative team. “I stopped seeing gender the first time we ran the play. The actors are smart and fierce and bring a great truth to the story. I forget they are women and think of the characters,” Alexandratos explains.
Indeed, the spectacular cast is comprised of some of Pittsburgh’s elite: Irene Alby takes on the doomed (albeit titular) Julius Caesar, squaring off against Shammen McCune and Lisa Ann Goldsmith as they embody the calamitously conniving Brutus and Cassius (respectively). Rounding out the exceptional lead ensemble, Harper York will implore us to lend our ears as the apparent successor to Caesar, Marc Antony. Joining the talented and stalwart leads in various ensemble roles is Melissa Franklin, Kristin Conrad, Kalee George, Sarah Carleton, Jessica Pierson-Turner, and Gretchen Breslawski playing various roles.
The message at the heart of Julius Caesar–that of the vagaries of power and the deleterious 
When one considers the meaningfulness of having women of every race, body type, religion, etc. take control of a play so inextricably bound to the power system that has oppressed, used, marginalized and othered women, persons of color, LGBTQI+ individuals, disabled persons, and so on, the exhilarating importance of PSIP’s Julius Caesar is irrefutable. Not only does it seek to address the glaring omissions and oversights in canon, but it informs a new generation of the creative capabilities to reclaim and redefine the narratives that were made inaccessible or exclusionary. Precisely to the point, PSIP has issued a beautiful and engrossing illustrated synopsis to accompany and further inform their production of Caesar. Fittingly created by mother-daughter creative duo Catherina and Lydia Aceto, the illustrated synopsis is another compelling envisioning of Shakespeare’s work that encourages engagement across a diverse array of learning styles while supporting female artists and their talents. Additionally, Caesar‘s Fight Director Tonya Lynn and cast member Sarah Carleton will team up to present a workshop that examines, explores uplifts female acting and performance on September 14-15, 21-22, 28-29 at 1pm.
PSIP’s profoundly crucial adaptation of Julius Caesar, and their additional efforts that support and promote female strength and creativity, is a historical and momentous chapter in the book of progressive theatre that we are fortunate enough to be a part of.
For ticket and show details, including information on Alan Irvine Storytelling preshows, and information on PSIP’s Fiesta for Fifteen fundraising event at Mad Mex Sept. 24, visit PSIP’s homepage.
Photography Credit: Catherine Aceto
Categories: Feature