This document provides details about directing a production of Julius Caesar. It discusses casting choices for the main roles, analyzing the script to focus on themes of fate vs. free will, and how the director plans to use symbolic elements like a bloodstained statue throughout the production to represent omens and reinforce the themes. Costume, lighting, set, and stage designs are also outlined to create a cohesive directorial concept and transport the audience to ancient Rome during the time period of the play.

1. Julius Caesar
Group 22
Sarah Elsherif / Lilia Adra / Joana Nunes
/ Sana El-Bakry

2. Casting
It’s important to choose performers with the
best suited personalities and physical
characteristics for each role
❏ Age, sound of voice, physical appearance, and facial
gestures will all have a factor in which actor is chosen
❏ Typecasting is deeply necessary for an effective
production
❏ The people who audition will be judged on how they
talk,move, and interact with the audience
❏ The ones who will take roles in this play have to be
staunch, they have to speak shakespearean english,
and have to be believable with some arrogance
already embedded in their personality
❏ Almost every character is ambitious so this needs to
be portrayed too

3. The Cast
Julius Caesar- Hugh Jackman
Octavius Caesar- James Franco
Marcus Antonius- Ben Affleck
Marcus Brutus-Denzel Washington
Cassius- Johnny Dep
Casca- Bruce Willis
Trebonius- Mel Gibson
Ligarius- Jude Law
Decius Brutus- Sean Penn
Metellus Cimber- Dustin Hoffman
Cinna- Kevin Spacey
Artemidorus-George Clooney
Calpurnia- Meryl Streep
Portia- Angelina Jolie
Soothsayer- Jack Nicholson
Minor Characters not included
because assistants will arrange their
audition

4. Script
❏ Choosing the script is the directors job and it requires the
directors attention, attraction, and basic
understanding of the script
❏ When a play is new and has never been tested in production,
there is a period of give-and-take between the playwright and
the director in which there is spirit of cooperation,
compromise, and mutual respect in this relationship
❏ Each director has their own personal approach to preparing
the production with regards to the script
Once the script is chosen, the actual work
on the production begins

5. Analyzing the Script
For this play, it’s necessary to take the Worshipful approach of analyzing the script in which
❏ Cause the SCRIPT to create an exciting theatre
❏ He thrills the audience with the brilliance of the text
As Director, I think that it is best to interpret Julius Caesar through the script that Shakespeare wrote. Not only
because he is the best playwright of all time, but I feel like his script is very descriptive and it conveys the
message that arrogance will hurt in the long run. Therefore, not only does Shakespeare do an excellent job
in conveying this message but I will too as I will make my audience notice how Caesar ignores all the signs in front
of him. Furthermore, It will be another one of my goals to make the audience understand that one’s intentions are
so important, that is why Brutus will not be caught easily as a conspirator because he looks out for Rome’s best
interest. I want the audience to live through Shakespeare’s magical work and not through my interpretation. The
IDES OF MARCH is the day that Caesar should beware and that will be the center of the plot

6. The Spine
The play is centered around the fact that Cassius is more than ready to
avenge Julius Caesar and this will amount to Treason
But in order for that to happen Cassius has to convince Brutus because
Brutus is loved by Caesar and all Brutus does is for the good of Rome
because of Brutus’s family’s reputation. So I will make this evident by
choosing a sly actor who knows how to be convincing for Cassius’s role.
The theme of the play that I want to make evident is Fate vs Free
will, therefore, my set designer and my master carpenter will have to
work in unity to make the signs evident that Caesar takes for granted and
that lead to his doom. Rehearsals have to happen until everything is done
without mistakes, or else the theme would not be evident to the audience.

7. Style
❏ The style is the way a play is presented
❏ Style involves giving an imprint on: the look of
the scenery, and the lights, and the way the
performers speak and handle their costumes
and props
❏ Also involves the rhythm and pace at which the
play moves
❏ The style will be that of nonrealism for this
play and more specifically it will be
Allegory

8. Style
❏ Allegory is very effective in a play like Julius Caesar because there are many symbols that need to be
represented
❏ Elements of production like scenery will have to show that the omens are real
❏ Most importantly, the lighting and fog are necessary to show Calpurnia’s dream that could have stopped
Caesar from thinking he is invincible
❏ The omens need to look like they happen at random because they are signs sent to make Caesar aware,
thus the scenery must be realistic in terms of the setting, ghosts can’t touch the ground, they must float so
the actors must work with set designers to make this believable to the audience. The blood must come out
when characters get stabbed, so makeup artists must focus on that too.
❏ Julius Caesar and Cassius both personify arrogance. Caesar thinks he’s invincible and Cassius wants to
avenge Caesar but he doesn’t expect his doom, a morale is taught to the audience by the end of the play
but it is up to the audience to interpret the omens and morals to their standards
❏ As a Director though, the way the performers speak and look will be with great realism

9. Directional Concept Concept and Period
❏ For Julius Caesar, I want to stick to the period 44 B.C ancient Rome
❏ The way the characters dress MUST depict the time period-costume designer needs to implement togas for
example
❏ The setting will also be clear so the stage designer and the master carpenter will need to make things look
as realistic as possible so that the audience will enjoy their theatre experience
Concept and Central Image
❏ Ill Omens are visible throughout the play and they will create lingering ideas in Caesars head
❏ The central image will be a bloodstained statue that is will be on set. Monologues will happen as the
actors are circling the statue of a an bloodstained emperor
❏ Tragic drama
Concept and Purpose
❏ The purpose is not to see my (the directors) creativity, but to be bewildered with Shakespeare’s originality

10. All in the directors responsibility is to make sure that there is consistent unity throughout the play.
Therefore, for Julius Caesar I will have to be in contact with many people so that the elements of
production are coordinated. What is most important is that the theme fate vs. will is presented by the
scenes of the ill omens and Julius Caesar’s characteristics and interactions with the Soothsayer and his
wife. My actors must do their part in personifying the characters so that the overall message, whether it’s
don’t let your arrogance eat you or don’t be power hungry, is conveyed clearly the way Shakespeare
would have wanted it presented to his audience.

11. ❏ Costumes are built or pulled
Created in costume shop Rented
Made specifically to your needs Saves money and time

12. ❏ Elements of a costume Designer:
1. Line, shape and silhouette of the outfit.
2. Color
3. Fabric
4. Accessories

13. ❏ Roman toga to represent time and local of the play.
❏ Include a red silk shale and a crown to signify major
character and suggest royalty.
❏ The silhouette (line element) of the toga is free flowing.
❏ Shoulder pads can be added to include depth and exaggeration.
❏ The color of the toga is white throughout the play to represent
the good intentions of the character. Red shale to represent
strength and courage.
❏ Pulled.

14. ❏ Sleeping garment worn. Free flowing and simple.
❏ Color of gown: pink to represent love and caring.
❏ Fabric of nightgown: silk to reflect royalty or status.
❏ Make-up: dark circles underneath her eyes to represent
her having nightmares and being worried about Caesar.
❏ Pulled.

15. ❏ Roman toga to represent time period and setting.
❏ Blue sash to represent loyalty to his country.
❏ The toga will be white at the beginning of the play
but as the play comes to an end, the toga will be black.
This will symbolize how his good intentions will push him
to do bad things which turns him into an evil character.
❏ Include shoulder pads to increase depth.
❏ Pulled.

16. ❏ Dressed in a simple and elegant stola and palla.
(minor character)
❏ Stola - White
❏ Palla - Yellow to symbolize comfort and
friendliness.
❏ Make-up: Worried facial elements like wrinkles
and dark circles under eyes because her
husband isn't sharing what worries him.
❏ Built.

17. ❏ Roman toga
White toga - represents goodness and purity
Blue sash - represents loyalty to Caesar and Rome
❏ Free flowing silhouette.
❏ Pulled.

18. ❏ Roman toga
Black toga - represents evil intentions, jealousy
and betrayal.
Red sash - represents determination for power
and boldness.
❏ Shoulder pads to portray wider shoulders and build
authority figure.
❏ Pulled.

19. ❏ Roman toga
White toga - represents his good intentions.
Purple sash - represents ambition and power.
❏ No shoulder pads to portray, metaphorically, a student
that is still learning from Antony.
❏ Accessories will include a crown to denote succession to
the throne.
❏ Pulled.

20. Main theme
❏ Evolution of color will
reflect the evolution of
characterization
particularly with Brutus
and Caesar.

21. Antagonist
❏ Brutus: Blue >>> evolving
to red

22. Protagonist
❏ Caesar: Red >>> evolving to blue.

23. Act I-II: Plotting
❏ Brutus, Cassius, and
their cohorts, plot to kill
Caesar.
❏ Both sides are
definitively defined by
their color.

24. Act III : Killing of Caesar
❏ The second that Ceasar is
stabbed, the lights will cut to
symbolize the killing of
Caesar.
❏ At this point in the play, the
lighting will cross creating
purple, symbolizing the lack of
clarity in finding a definitive
good.

25. Act IV-V: Epilogue
❏ Brutus and Cassius have switched
to red in the beginning of Act IV.
❏ Brutus can no longer live with what
he has done and decides to end his
life.
❏ Cassius ends his life because of
what he thinks he did to his best
friend.
❏ The lighting switches once more
and their deaths causes them switch
to blue.

26. Lights on the Skrim
❏ Day and night will be represented by the Selecon 1200
Fresnel light. The lights will be reflected on the skrim.
❏ For day: orange/light blue.
❏ For night: dark blue/ purple.

27. Lights used on the Characters
❏ Red used on Caesar to coordinate with
the Costume Designer's red sash, and
blue is used for Brutus to coordinate the
Costume Designer’s blue sash.
❏ As the play moves forward the lights
switch to represent the change in good
and bad.
❏ Green lights will be used when the
Soothsayer speaks to Caesar, or for
nightmares, etc.

28. Overview:
❏ Creates the visual world for a play
❏ Decides if a scene is realistic or fantasy like
❏ Chooses what the audience sees
❏ Sets the mood and style of a production

29. Functions:
❏ Indicates the type of place we are in (ex:
outdoors, indoors, future, ancient Rome, etc)
❏ With an episodic play that requires different
sets, the set designer needs to make sure
that the changes of scenes run smoothly
❏ Deal with practical and aesthetic
considerations (ex: know which way a door
should open or how high each tread should
be on a flight of stairs)
❏ Symbols play a large role in design. One
single item onstage can signify a whole room

30. Act 1 - Crowded street in Rome
The Feast of Lupercal is taking place.
Elements:
❏ Roman citizens coming and going
❏ A couple of businesses
❏ Trees
❏ Bloodstained statue in the
background

31. Act 2 - Scene 1 - Brutus’ Garden
Elements:
❏ Flowers
❏ Grass
❏ Shrubs
❏ Water fountain
❏ Bloodstained statue

32. Act 2- Scene 2 - Caesar’s house
Elements:
❏ Bookcase
❏ Red rug
❏ Chair
❏ Small table
❏ Bloodstained statue

33. Act 2 - Scene 3 and 4 - Dark Street
Elements:
❏ Moon
❏ Stars
❏ Businesses
❏ Bloodstained statue

34. Act 3 - Before the Capitol
Elements:
❏ Capitol building
❏ Roman citizens
❏ Podium
❏ Trees
❏ Bloodstained statue

35. Act 4 - Brutus' House
Dark room
Elements:
❏ Table
❏ Chair
❏ Candle
❏ Bloodstained statue

36. Act 5 - Plains of Philippi
Elements:
❏ Grass
❏ Trees
❏ Ancient Rome ruins
❏ Bloodstained statue