Review by Liz Eichler
Magnolia Theatre Company’s bold new staging of An All Female Julius Caesar, playing at Dayton’s PNC Arts Annex through April 13, invites audiences to experience Shakespeare’s tragedy through a new lens: an all-female, media-saturated, modern-day political drama that makes betrayal feel both intimate and urgently public.
Imagine a world where women in power are still scrutinized, second-guessed, and subjected to double standards. This 90-minute adaptation directed, adapted, and multimedia-designed by Caitlin McWethy confronts not only the timeless consequences of political ambition, but also the ways women both support—and sabotage—each other in the 21st century. (This is the ultimate backstabbing play, remember!)
The Plot of This Julius Caesar
McWethy’s concept reimagines Julius Caesar as a female political candidate on the rise, surrounded by her handlers and advisors. While the play remains rooted in Shakespeare’s text, the restructuring of scenes and the clever infusion of language from other plays—along with a multimedia twist—make the production feel freshly urgent. This isn’t Caesar’s Rome; it’s our America, and it’s all too recognizable.
The conspirators—Cassius, Brutus, Casca and others—aren’t just power-hungry senators. They’re women in pantsuits, whispering in back rooms, posting viral content, and participating in carefully staged press conferences. Gossip becomes strategy, planting seeds of distrust and ambition. Paranoia turns into a viral spectacle. And when Cassius (played with Gen Z fierceness and intensity by Emma Massey) begins to plant the seeds of doubt and envy in Brutus, we’re not just witnessing political dissent—we’re watching how personal grievances or even misogyny can quietly fuel division.
Massey, a graduating senior at Wright State, absolutely owns the role of Cassius. SHe is a standout talent, and a performer to watch. Darlene Spencer delivers a grounded, thoughtful Brutus whose moral conflict feels deeply personal. Her arc reveals the heartbreaking cost of turning against someone who could have been an ally. That Brutus is a woman betraying another woman makes the act feel more complex, and perhaps more tragic. It’s less about preventing tyranny and more about fear, distrust, and ambition tangled in the politics of gender.
Becca Howell takes on the dual role of Caesar and Octavius, delivering a commanding performance that’s confident without being arrogant—one that makes Caesar’s fall all the more devastating. And, notably, one audience member reportedly asked, “Why isn’t Caesar in the curtain call?” A testament to how seamlessly the production handles its double casting.
Technology is Another Character
The use of video, live streaming, and staged media events elevates the experience. McWethy’s media design blurs the line between private schemes and public personas. The Soothsayer, transformed into a symbol of omnipresent media noise, is played by Stephanie Bignault. “Things go viral in a moment,” McWethy noted in a recent Dayton Daily News article. “And when it’s women in power, those moments hit twice as hard.” That message lands loud and clear.
Sha-Lemar Davis gives Antony a cool confidence, especially in the iconic “Friends, Romans, countrymen” speech, recontextualized here as a powerful press statement delivered to a nation in mourning and confusion. The entire cast, including Rachel Mock (a strong Casca), Skye Hodgkin (great performance as Cinna), and Stephanie Radford-Harcrow (an amazing Portia and solid Trebonius), commits fully to the story’s emotional and thematic weight.
There are moments, to be fair, where this Caesar feels a bit too scaled down, missing some of the grandeur of the original playwright. The lean runtime with condensed storytelling sometimes skims over the deeper motivations or backstories of the characters. But what’s lost in epic scope is gained in focused commentary. This version is highly accessible to young and old, male and female, and both knowledge of the original text/Roman history or a clean slate.
Overall
Magnolia Theatre Company, under the leadership of Founding Artistic Director Gina Handy Minyard, has a production that is timely, smart, and thought-provoking. It challenges assumptions not only about Shakespeare, but about women in leadership, media manipulation, and the cost of betrayal. It’s exactly for right now.
Tickets to An All Female Julius Caesar
Get tickets to Julius Caesar, produced by Magnolia Theatre Company at the PNC Art Annex in Dayton. The show runs April 10-13. Call 937-228-3630 or go to daytonlive.org.
- Friday, 8 pm
- 2 and 8 p.m. Saturday (Talkback after the 2 pm show)
- 2 p.m. Sunday (Talkback after the 2 pm show)
Click HERE for VIDEO PREVIEW
