This autumn, Shakespeare’s political thriller Julius Caesar gets a bold new life in a vivid, African-inspired adaptation touring the South West.
Behind the production is Tangle, a theatre company known for reimagining classic stories through African and Caribbean cultural lenses. At the helm is Anna Coombs, Tangle’s Artistic Director, who has also adapted and directed this exciting new version of the play.
We sat down with Anna to hear more about her vision for the production, what audiences can expect, and how Julius Caesar still speaks powerfully to the world we live in today.
Why did you decide to adapt Julius Caesar?
I’ve always loved this play. The pace is electric, and the tension between personal friendship and political loyalty makes it feel like a genuine thriller. Even if you don’t know the story, you’ll be on the edge of your seat. There are so many brilliant, dramatic moments—like Caesar having a casual drink with Brutus and Cassius, completely unaware they’re plotting his assassination just hours later. It’s chilling.
Then there’s Mark Antony’s famous “Friends, Romans, Countrymen…” speech. The way he manipulates the crowd, turning suspicion into support through clever wordplay and raw emotion, is just masterful.
At Tangle, we specialise in crafting large classical texts into nimble, powerful productions with small, tight-knit ensembles. I had a hunch Julius Caesar could work in this way—and I’m thrilled with how the team has brought it to life.
How does your adaptation differ from Shakespeare’s original?
For starters, we’ve reduced the number of characters significantly. The original has over 40 roles, but we’ve distilled it down to the essential relationships—especially the emotional and political power struggles between Caesar, Mark Antony, Brutus, and Cassius.
We also pick up the pace. I cut the entire first scene, so audiences are dropped straight into the heart of the action. Whether you’re a Shakespeare regular or coming to his work for the first time, you won’t have to wait long to get gripped by the story.
Importantly, though, the adaptation stays faithful to Shakespeare’s language. There’s no modernisation, no major plot changes—we’ve simply trimmed and shaped it to serve our cast and style. I believe audiences today are more than capable of understanding and enjoying Shakespeare’s language when it’s delivered with clarity and passion.
What was your process in adapting the play?
The first step was reading the original play aloud with our Associate Director, John Pfumojena. That allowed us to really feel the rhythm of the piece and spot where characters could be merged or cut. From there, we tested the adaptation with actors in the room—always the best way to refine how a story lands.
The play was written over 400 years ago. How does this version connect with today’s world?
There are striking echoes with modern politics—particularly with leaders who crave total control and thrive on public spectacle. While I don’t set out to make direct comparisons, I do think audiences will draw their own parallels with contemporary figures and situations.
Another layer we’re exploring is the connection to the climate crisis. The play is full of ignored omens—storms, lightning, strange natural events—which we’re interpreting as warnings about environmental collapse. Our Soothsayer character channels this theme powerfully.
Who’s your favourite character?
Caesar fascinates me. He’s this commanding public figure, full of bravado, but there are also glimpses of real vulnerability and fear. He swings between supreme confidence and deep anxiety, which makes him such a compelling character to watch.
Can you tell us about the cast?
We’ve got an incredibly exciting cast. John Pfumojena, our Associate Director and composer, plays Mark Antony. John and I have worked together in different roles for years—most recently I assisted him on Sizwe Banzi Is Dead—and I can’t wait to see how he brings Antony’s transformation to life, from fun-loving loyalist to brutal warrior.
We’re also proud to introduce two recent LAMDA graduates making their professional stage debuts: Roland Royal III as Julius/Octavius Caesar and Samya De Meo as Cassius, Calpurnia and Portia. Tangle has always championed early-career talent, and these two are phenomenal.
Remiel Farai, who has a Nigerian and Zimbabwean heritage and recently returned to the UK after ten years living in Australia, takes on Brutus, while Yaw Osafo-Kantanka, the 2025 World Poetry Slam Champion, plays our Soothsayer. Yaw is a true multidisciplinary artist—an actor, musician, and expert in the talking drum, with Twi as his first language. His energy brings something very special to the production.
Tangle’s known for bringing African and Caribbean storytelling to classic plays. How is that reflected in this production?
Our Julius Caesar draws on rich traditions, particularly the Shona oral storytelling culture from Zimbabwe. You’ll see this in the vibrant use of music, movement, and ensemble playing. The assassination of Caesar, for instance, is conveyed through powerful choreography rather than violence.
The whole production pulses with rhythm—there’s live percussion, dance, and song throughout. We’re also exploring the use of different languages spoken by the cast, including Twi, Shona and Zulu. These layers deepen the storytelling and reflect the cultural richness we’re proud to champion.
What do you hope local audiences will take from this show?
We’ve created this Julius Caesar to be accessible and enjoyable for everyone—whether you’re a seasoned theatregoer or brand new to Shakespeare. Our last shows, Volpone and Richard The Second, received fantastic feedback from audiences who said it was the first time Shakespeare really “clicked” for them. One person even told me, “I always fall asleep during Shakespeare, but this time I was gripped throughout!”
We want young people and families to feel welcome, and to be inspired by the power of storytelling—and by seeing actors from African and Caribbean backgrounds owning classical stories on stage.
A big part of our mission at Tangle is about visibility. We tour to rural places that may have very small Global Majority populations, and it’s so important to showcase the excellence of African and Caribbean artists on those stages. Representation matters.
Tangle’s Julius Caesar tours the South West from 9 October to 15 November 2025, before transferring to London’s Omnibus Theatre. See it at Taunton Brewhouse on 21 October.
For more information and to book tickets, click here.
