If Robert Hastie’s first production as artistic director at Sheffield is a statement of his intentions, I hope to be at every show. His modern-dress Julius Caesar places theater firmly at the centre of civic life. Yet nothing about it is forced or concept-wilful. Every decision works with and for Shakespeare’s text, while gently incorporating the audience into the action as spectators, witnesses, and analysts. The question dissected here, whose answer we must each decide for ourselves, is: what is true rhetoric and what is false? In our era of fake news, this is not an academic issue.
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