Following an adventurous five-month process of living and learning with Shakespeare’s Julius Caesar we’ve come to our final show. In one sense, it’s a show like any other in that we desire to communicate the truth of the story. On the other hand, our final show carries with it an added sense of anticipation as our last opportunity to share Julius Caesar with our audience in this setting. The Atrium space at the Church of the Transfiguration has been a generous venue lending a timeless and unique voice to the story. Following the show Sunday night the set will be removed and disappear in only a few hours.
We are grateful for all the generosity of everyone involved with the Julius Caesar production. Before the show each night everyone on set gathers together. Between the makeup and hair dressers, musicians, lighting and set crew roughly 60 men and women have helped in the story telling each night. And countless more throughout the preparation have given generously: Nick Sandys choreographing the fight scenes, John Douglas Thompson, Michael Sexton, Louis Colaianni, and Claudia Zelevansky involved in an intensive Shakespeare retreat the week prior to opening night, carpenters and painters creating the set, seamstress and designers creating costumes, and endless creative contributions.
“How many ages hence shall this our lofty scene be acted over, in states unborn and accents yet unknown?”