JULIUS CAESAR
Omnibus Theatre
★★★★
“Cleverly reimagined, well crafted, and pulsing with style”
Over 400 years since its premiere during enormous political and social tension, Shakespeare’s ‘Julius Caesar’ still hits a nerve. Tangle Theatre Company’s African-inspired adaptation taps into the 21st century zeitgeist with charged intensity and cultural flair, delivering a punchy take on power, corruption and verbal warfare.
Caesar’s days are numbered, though he doesn’t know it: while Caesar courts kingship, rival Cassius sows the seeds of doubt, leading to a colossal betrayal by once loyal friend Brutus. But their bid to save the Republic backfires when the charismatic Mark Anthony swoops into the power vacuum. Suddenly Cassius and Brutus are on the wrong side of history, outmanoeuvred by a shrewd foe. Will it end in tragedy? You’ll have to find out!
Anna Coombs’ gutsy adaptation cuts straight to the play’s heart with bold, intelligent choices. Forty-plus roles become eight performed by five cast members; entire scenes and characters are slashed like Caesar on the Senate floor; expository speeches become brisk, visceral moments with deeper character insights. Several characters are condensed into a mysterious shamanic Soothsayer, steeped in symbolism, channelling ancient force, driving the plot, and offering commentary with refreshingly modern clarity. Die-hard Shakespeare fans needn’t worry, the iconic lines remain. The overall effect is fiery yet faithful and should be commended.
Coombs’ direction blends European and South African theatrical traditions through music, dance, multilingual storytelling and deconstructed staging. The Soothsayer anchors these elements through fourth-wall breaking critique and rhythmic talking drum accompaniment. Antifascist salutes add bite, though feel mismatched with Mark Antony’s loyalty to Caesar. Spatial choices could be sharper: aisle performances often go unlit or face away, and Brutus frequently turns his back during key exchanges, dulling the impact. Still, the production’s strengths outweigh the areas for improvement.
John Pfumojena’s richly textured score sets the tone with precision, layering nature sounds, vocalisations, and ambient textures to heighten tension. It’s an immersive accompaniment that complements the action and packs unexpected depth. Bawren Tavaziva’s choreography knits the production with fluid precision, at times understated, at others central. Drawing on natural and supernatural movements, and creating striking fight scenes, it feels fully integrated, breathing life into a script that risks feeling stale after four centuries.
Colin Falconer’s minimalist set design gives the stage a striking openness, with metal fencing beautifully catching the light while evoking danger, especially during the play’s frequent thunderstorms. Joe Hornsby’s lighting design contrasts naturalistic ombre washes with stark geometric lighting, flashes of lightning cutting through the darkness unexpectedly. A neon circle suggesting surveillance adds visual intrigue, before changing colour with split-second timing. However, the absence of aisle lighting occasionally undermines the immersive staging. Khalil Madovi’s sound design layers accompaniments, vocalisations, and percussion with precision. Thunderclaps and drumbeats synchronise perfectly with the action, amplifying dialogue with finesse. Falconer’s costume design reinforces the Afrocentric aesthetic, with the Soothsayer’s bold look paired with colourful prints to maintain cohesion with the rest of the cast. Simple yet effective costume changes track multiple roles and the play’s tonal transitions.
This all-Black ensemble delivers a strong collective performance with energy and cohesion. Yaw Osafo-Kantanka’s Soothsayer is magnetic, commanding the space with ease. The dynamic blend of acting, singing, dancing and drumming makes for a true triple (plus!) threat. Stepping in unexpectedly as Mark Antony, Samater Ahmed delivers a stirring performance with remarkable poise. The pacing and emotional nuance give the impression of a fully rehearsed performance. Roland Royal III delivers a layered Caesar that seduces and unsettles in equal measure.
Tangle’s ‘Julius Caesar’ brings bold vision and striking style to Shakespeare’s classic work. Cleverly reimagined, well crafted, and pulsing with style, you won’t want to miss out.
JULIUS CAESAR
Omnibus Theatre
Reviewed on 29th October 2025
by Hannah Bothelton
Photography by Stuart Martin
Previously reviewed at this venue:
THE ENDLESS HOTEL | ★½ | October 2025
CUL-DE-SAC | ★★★ | May 2025
BLOOD WEDDING | ★★★★ | May 2025
THE GUEST | ★★★★★ | April 2025
VANYA IS ALIVE | ★★★★ | February 2025
