The Royal Shakespeare Company is currently touring a revival of Julius Caesar, originally directed by Phyllida Lloyd for the Donmar Warehouse in 2012. This version is being staged in secondary schools, using a repurposed auditorium with plastic chairs and tiered seating that mimic an ancient amphitheatre. The production is set in a women’s prison, with elements of incarceration woven into the performance, such as interruptions from guards and adherence to prison rules. This setting allows the play’s themes of power, justice, and violence to be explored through a modern lens. Harriet Walter returns as Brutus, a character she previously portrayed in the original 2012 production, while Jackie Clune reprises her role as Julius Caesar. Leah Harvey, who played the soothsayer in the 2016 revival, now takes on the role of Mark Antony. The set design by Bunny Christie reflects a minimal, institutional style, evoking the atmosphere of a prison drama society staging the play. The actors wear grey, uniform-like outfits, and small TV screens display CCTV-style footage and scene summaries, enhancing the prison setting. The production uses a mix of atmospheric lighting, sudden blackouts, and electronic music, including tracks from artists like Stormzy and Fatboy Slim. Red rubber gloves are used to depict bloodied hands, and the violence shown could be interpreted as a reflection of youth gang culture. Harriet Walter portrays Brutus as an androgynous idealist, while Clune’s Caesar is dressed in a leather coat. Female characters, such as Portia (played by Shalisha James-Davis) and Calpurnia (Kosar Ali), have significant roles in foreshadowing danger. A childlike soothsayer (Siân Stephens) rides a tricycle around Calpurnia, adding to the surreal atmosphere. Turntables are used as part of the war machine, and executions are staged with hoods and plastic guns, accompanied by the sound of real gunshots. The production is described as having the feel of a traditional history play filtered through a style reminiscent of filmmaker Quentin Tarantino, yet it remains true to Shakespeare’s original text. The performance has been noted for its powerful impact, with moments of pin-drop silence during the climax, indicating its ability to engage both students and adult audiences deeply.