I intended to start writing my review of The Bridge Theatre’s thrilling, immersive production of Julius Caesar on the train home last night. Instead, I ended up texting pretty much everyone I know to tell them they should go and see it immediately. Having slept on that opinion, I stand by it 100%.

Nicholas Hytner’s production brings ancient Rome screaming into the 21st century with a politically relevant and heart-poundingly gripping take on Shakespeare’s play. While the adaptation steers clear of overt references to any specific regime, there are shades of a certain red baseball cap wearing president in David Calder’s portrayal of Caesar (with one particular gesture that simultaneously clarifies who he’s modelled on and seals our dislike towards him, just moments before his assassination). Perhaps in light of this it’s not surprising that two of the main conspirators against him are strong female figures – Michelle Fairley as Cassius and Adjoa Andoh as Casca – who convince Ben Whishaw’s nervous, endearingly geeky Brutus to join them, only for him to take over the entire plan, overrule all their ideas and mess everything up.

Julius Caesar is a story that works particularly well in an immersive format, because so much of the play focuses on the power of political rhetoric to sway the masses. Standing in the midst of the crowd, clutching a Caesar poster someone had just thrust into my hand while Brutus flyers rained down all around, it was easy to get caught up in the tidal wave of popular opinion as first Brutus and then Mark Antony – played with conviction and down to earth charisma by David Morrissey – took to the stage at Caesar’s funeral.

That said, it only works if the immersive aspects of the show are convincing, and on that front this production delivers to such an extent I actually felt a bit traumatised by the end. From the celebratory gig that’s already underway as we arrive, to the screams of discreetly positioned cast members at Caesar’s assassination, to the debris that falls from above as the theatre’s rocked by explosions and gunfire – the attention to detail is mind-blowing. True, it’s not the most comfortable two hours you’ll ever spend; prepare to be herded fairly roughly from one position to another, to be stepped on by fellow audience members, and possibly even to have an actor scream “Move!” in your face. But I’d still recommend getting a standing ticket if you can physically manage it (the play is two hours with no interval) if an authentic experience is what you’re after.

On the other hand, if you want a good view of Bunny Christie’s incredible set (and prefer to keep your toes untrampled), a seated ticket is probably the way to go; inevitably anyone watching from the ground won’t be able to see everything, whereas from above you’ll be better able to appreciate the versatility of both the space and the set. Consisting of multiple platforms that rise and fall to create a new stage area for each new scene, it’s like spending the evening in several different theatres all at once.

In a city that was already full of theatres, The Bridge – which only opened in October – has already more than proved its worth. This gripping production will thrill those who already know and love Shakespeare, but more importantly, it may just change the minds of those who don’t.

Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉