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

JULIUS CAESAR

★½

“Despite flashes of charm, the show suffers from uneven storytelling”

‘The Endless Hotel’ bills itself as a dreamy sanctuary for creativity – a new gig theatre musical where imagination checks in and never leaves. Despite its lofty ambitions, it drifts into a slumber with bland storytelling and forgettable melodies. There are glimmers of heart and sincerity, but for a show about nurturing creativity, it’s disappointingly low on spark.

‘The Endless Hotel’ holds the power of dreams. Myra, an unappreciated cleaner, longs to become one of the hotel’s sought-after singers. When auditions open, she sees a glimmer of hope – until Adam, the hotel’s outgoing star, cons her into handing over her room keys. As Adam leaves, he asks Myra to head down early – but her unhearing right ear misses this. Luckily, she also avoids becoming another victim in Adam’s quest to seize the hotel’s dream power. Myra’s the only one who can save the hotel and the people in it – but can she find the courage to believe in herself?

Presented by Weaver Line, the writing needs significant work. The convoluted premise demands heavy exposition, making for a sluggish start. It gets better once it settles into its magical, dreamlike rhythm, but continues to unfold with predictable beats. Despite flashes of charm, the show suffers from uneven storytelling, with some plot points over-explained, others barely touched, and a notable lack of dramatic tension. The stakes remain unclear, leaving the audience adrift in a narrative that struggles to define itself. Tonally, it wavers between sincere drama and pantomime, never quite committing to either. The result is a production that feels caught between genres and – ironically – unsure of its own voice.

The direction makes imaginative use of props, with a black and silver scarf becoming rivers, icicles and magical capes. Though the sudden shifts from acted scenes to static musical numbers stall the show’s momentum.

For a gig theatre piece written by a band, the music is surprisingly forgettable. While a few numbers show flashes of musical interest, the score leans heavily on four-chord structures with somewhat clunky lyrics. All songs are performed by a single lead vocalist, which, in a two-hander format, creates an imbalanced dynamic and reduces the scope for structural and harmonic variety.

The staging is stripped-back, centring on a piano and guitar in keeping with the gig theatre vibe. Costume choices offer moments of whimsy, notably a scraggly jacket cleverly doubling as the wings of a talking bird. However, the technical elements falter: sound levels are uneven, with the guitar overpowering other components, and muffled microphones frequently obscure lyrics. Lighting design lacks nuance, relying on basic colour washes for dialogue and jarring flashes during musical numbers, which undercuts their emotional sincerity.

The two-hander cast, comprised of Sally Horowitz and Benjamin Way, demonstrate musical skill. Horowitz’s breathy alto, coloured with folky warmth, pairs well with Way’s confident guitar work. However, the score underuses Horowitz’s upper register and gives Way little more than basic backing vocals, missing opportunities for real vocal prowess. On the acting front, the performances are uneven. Way handles multiple roles with relative ease, though occasional lapses in character cause a disconnect. Horowitz brings energy and warmth, though relies more on charm than emotional depth.

‘The Endless Hotel’ is currently more restless night than sweet dream, weighed down by issues in writing, tech and performance. While the idea has heart, the staging doesn’t quite deliver. In its current form, it feels more like a work-in-progress than a fully realised piece of theatre.

Tag Archives: Omnibus Theatre

JULIUS CAESAR

★★★★

Omnibus Theatre

JULIUS CAESAR

Omnibus Theatre

★★★★

“Cleverly reimagined, well crafted, and pulsing with style”