Review by Ashlei Havili Thomas, Front Row Reviewers
Everyone in the western world knows the name Julius Caesar; it’s indelible, woven into our everyday lives from Caesar salad and dressing to caesarian roots to a caesarian or c-section. Julius Caesar is one of the most well-known plays of William Shakespeare’s, the words “Et tu, Brute?” (“and you, Brutus?”) immortalized and still used to describe betrayal by one’s closest friend. While it is not one of the most performed Shakespeare play, Whispering Door Theatre’s production of Julius Caesar at The Hive Collective in Provo, Utah, is a compelling argument as to the play’s longevity and resonance with modern audiences. There are no togas nor is this a dry and boring history. Instead, this artistic and electric production holds your attention from the very start and beyond the last line. An up-and-coming local theater company, Whispering Door Theatre’s take on this classic is bold, chilling and leaves you speechless. Be sure not to miss this intense production of Julius Caesar this November in Provo, Utah.
While the title of the show is Julius Caesar, the play mostly focuses on the machinations up to and after Caesar’s murder. Shakespeare takes some liberties with the timeline, but the plot is the same: Cassius convinces Brutus to join his conspiracy to kill Caesar and prevent an autocracy. After the deed is done, the conspirators tell the people they did this for Rome, but Mark Antony turns the people against the conspirators, forcing them to flee, and thus starts a civil war. Jason Hackney brings to life Cassius’s charisma and cunning, throwing every fiber of his body into the role. Hackney draws the eye in every scene he is a part of with the frenetic pace of a rock idol and a fanatic’s self-assuredness, the flipside of Clara Wright’s Brutus. Wright is grounded and resolute as Brutus, creating moments of stillness that allow the audience to focus solely on her next action. It is with this sense of stoicism that Wright pulls the audience behind her, marching on to follow this decision through no matter the consequences. Mikah Vaclaw (playing both Mark Antony and Portia, wife of Brutus) is a fascinating actor to watch in this play, particularly in how she uses the complexity of Shakespeare’s language to say the opposite of the words spoken. In Antony’s forced speech defending the conspirators, the audience is swept up into Vaclaw’s argument in favor of their deeds, while just as sincerely Vaclaw convinces everyone to turn against them. Bradley Moss (Caesar) does a wonderful job as the divisive ruler, giving the audience and the conspirators just enough uncertainty to sow seeds of doubt as to his style of rule. Moss perfects the attitude of jovial hero, trusting friend, and shrewd ruler, leaving the audience to hang their decision of the justness of the conspirators’ actions on the words and acting done by Vaclaw, Hackney and Wright.
While Shakespeare’s play has clear leading roles, this production of Julius Caesar is first and foremost an ensemble effort, with only three of the twelve actors having only one part. Without any pause in pace, the actors keep the energy ever increasing toward the climax of the piece. They work and move as one, seeming to the audience to have no direction or obvious signal to their collective choices. This is made even more immersive with the lighting design by Daniel Barton and soundscape by Kristian Huff, all helmed by director Dylan Hamilton Wright.
At intermission, the audience sat for a full 90 seconds in expectant silence to see what would happen next, until it became clear no one was going to enter the stage. While the actors worked as a collective whole, there are standout performances throughout the play. Sten Shearer as Casca creates this persona of hidden anger covered by honor that prevents him from acting. Yet, as Casca entertains Cassius’ ideas to overthrow Caesar, Shearer seems to quail at the idea before being seduced by Cassius’ words, becoming his most ardent follower. Madison Haws-Allen (Decius Brutus) convinces Caesar to come to the Senate, flipping Caesar’s wife Calpurnia’s dreams of Caesar’s bloody death into a feast of love by his followers who wish to become like Caesar. Haws-Allen perfectly weaves this net of lies and flattery while showing the audience her deceit, ensnaring Caesar and convincing him it was his idea. This ensemble cast is a powerhouse; it cannot be said anything is held back in this electrifying production of this classic play.
Julius Caesar is by its nature, a bloody play, but the artistic choices of when to use blood on stage makes it significantly less graphic. This play may be suited to a teenage audience, but due to the complexity of language young children may not enjoy this production. This is not to say this show should be avoided by a traditional audience–far from it. From its start to the end–approximately 2 1/2 hours later, this riveting piece is fascinating, and the perfect end cap for Halloween with its ghosts and eerie synchronicity. Whispering Room Theatre’s production of Julius Caesar is one of the most well-done pieces of classical theater this reviewer has ever seen, including professional companies like the Utah Shakespeare Festival. Running for only one week, hurry over to see this breathtaking production this November in Provo, Utah.
Whispering Room Theatre presents Julius Caesar by William Shakespeare.
The Hive Collaborative, 290 West 600 South, Provo, Utah 84601
November 4-8, 2025 7:30 PM
Tickets: $25 General Admission, $15 Student Admission
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