“A provocative and beautiful celebration of culture through the decolonization and reimagining of Julius Caesar”
Decolonizing Shakespeare and rooting it in African influences is such a beautiful and bold premise and this production brings that vision to life with power and intention. Tangle Theatre bridges the gap between what we think Shakespeare is and the reality of contemporary human bodies on stage today, creating an amalgamation of culture, strength, and undeniable presence.
Julius Caesar is a story built on power, relationships, and betrayal. Yet Shakespeare often feels inaccessible to many because of its antiquated language and the rigid tradition surrounding how it’s “supposed” to be performed.
Tangle Theatre pushes back against that. They champion excellence and accessibility at every turn. Allowing each actor to keep their natural accent and vocal identity creates a geographical vortex that reinforces just how global and ongoing the political commentary of Julius Caesar truly is.
The sound design by Khallil Madovi and the score by John Pfumojena are a gorgeous fusion of European and African musical textures, perfectly mirroring the Afro-Italian inspiration behind the production.
The cast of five is phenomenal. Samater Ahmed, who joined the run mid-way, delivers a deeply holistic Mark Antony, confident in language, intentional with the audience, and fully attuned to each moment. Roland Royal II embodies a power-hungry Caesar with clarity, and his brief turn as Cinna the Poet is sharp and effective. Remiel Farai’s Brutus carries a steady honor, grounding the production with presence and stability .
Samya De Meo is a powerhouse. As the only woman on stage, she commands attention effortlessly. Casting Cassius as a woman offers a fascinating layer to the dynamic. Caesar’s dismissiveness lands differently, exposing the long, ongoing history of belittling women paralleling our contemporary world and the way women are viewed despite their power and intelligence. De Meo’s portrayals of Cassius, Portia, and Calpurnia are each distinct and deeply felt. Her Italian heritage enriches every role, raising the stakes and shaping the world of the play. The moment Cassius chooses death and freedom is one of the production’s most gripping scenes, carried entirely by DeMeo’s emotional precision.
Another standout is Yaw Osafo-Kantaka as the Soothsayer. His use of Twi, an Akan language spoken in Ghana, is a revelation. The production proves that audiences don’t need every line translated into English to understand or connect. His physicality and freedom of movement communicate everything essential as he invites the audience as an extension of his performance.
We often walk into the theatre believing we must understand every word to understand the story. This decolonized Julius Caesar dismantles that idea, showing that Shakespeare can be accessible without bending everything toward English or traditional norms. Seeing Black and Brown bodies at the center of this world is excellence in its purest form. The audience was beautifully diverse, yet united in celebration of the work.
This blending of culture, power, and beauty is exactly what the theatre world needs more of. The production makes it abundantly clear that the future of theatre must cast a wider net, integrating and elevating global cultures. Shakespeare can still be honored as one of the world’s most influential writers, but we can, and should, reimagine his work in ways that reflect the diversity of the contemporary world.
Keep an eye on this cast, they are the embodiment of Tangle Theatre’s message “championing African and Carribean artistic excellence”.