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Thursday, Martius XXXI, XLIV BC

Et tu Murphy?: Is Ryan Murphy’s “Caesar” Bioplay Too Soon

Why create a new story when you could tell a “true” one? Or at least one based, albeit very loosely, on a real person’s life. The recently released play “Caesar” ponders this very question. Admittedly, Caesar has been criticized for being “a bit too soon”, as it has only been XVI days since this year’s Ides of March, the infamous day when Caesar was stabbed XXIII times by members of the Roman Senate. However, it has been released just in time for award season and it’s no secret that the Academy loves bioplays. After all, one-third of nominations and awards won by famous Roman actor Meryrlous Streepous have come from historical plays.

“Caesar” has also been under a fair amount of scrutiny for its portrayal of its title character. News outlets like The Roman Times, have criticized the bioplay for glossing over Caesar’s controversies, such as his reputation as a tyrant, as well as his betrayal of former triumvirate member Pompey, which resulted in the civil war that followed. The biopic also has been criticized for intentionally trying to sweep Caesar’s extramarital affair with Cleopatra, the current leader of Egypt, under the rug.

Members of Caesar’s family have also spoken out about the release of this play. His wife, Calpernia, released the following statement; “It was against Julius’ wishes for plays to be made about him after his death, he was a very private man.” She went on to state that Caesar disliked intrusive news outlets and paparazzi, citing the Bona Dea scandal where The Inquirer exposed Caesar’s ex-wife, Pompeia’s, alleged affair with politician, Publius Clodius Pulcher.

The writer and director of this play, Ryan Murphy, released a statement claiming “we [the studio] tried to get in touch with Caesar’s family, via stone tablet, II days after his passing but for whatever odd reason they didn’t reply.” Murphy also mentions the great respect he and his team had for Caesar’s final wishes, mentioning that they “only went through his private quarters III times and only took three-fourths of his personal belongings for research.” How cordial of them. Murphy and his team eventually got in contact with Caesar’s nephew, Marcus Junius Brutus and his colleague, Gaius Cassius Longinus, both of whom became producers for the play.

In the play, there is a compelling side plot following fictionalized versions of Brutus and Cassius trying to stop Caesar from being assassinated. Strangely, in one of Caesar last conversations with his close friend and confidant, Mark Antony, as outlined in Antony’s recently released biography “Arms Without Head”, Caesar allegedly told Antony, “If I die, I’m almost 100% sure Cassius is involved and maybe Brutus. But like I totally don’t trust Cassius, that guy is really sketchy.”

Separated from it’s controversies, “Caesar” is a subpar play, making no new or creative observations about its title figure. It clings to the formulaic emotionally manipulative structure of bioplays, with Caesar’s characteer catapulting from a nobody with the falling sickness to accomplishing incredible feats, rising above various challenges, giving an inspirational speech and then passing away dramatically. In regards to the staging and blocking of the play, “Caesar” makes confusing decisions making the rhythm of some scenes seem awkward and forced.

One of the few highlights of “Caesar’’ is the performance by up-and coming actor, Austinus Butlarus, or as he is commonly known as Austin Butler, who credits his impressive performance to the technique of “method acting” which helped him get into Caesar’s mindset.

In a recent interview, Butlarus admitted that stepping into the shoes of the former Roman emperor has cost him more than he anticipated. Butlarus believes that taking on the role has had long term effects on him, stating that “I [Butlarus] feel like the ghost of Caesar is with me, you know? I still feel like I could come down with the falling sickness anytime.” Butlarus’ fear may not be entirely out of the realm of possibility, as he is no stranger to roles that became a bit too life-like. The previous year, Butlarus was casted to play the role of mythical Greek musician, Orpheus. The role irreversibly damaged his voice, giving him a Thracian accent, resulting in extreme emotional turmoil for Butlarus, so much so that at every award show last year, he was often spotted uncontrollably crying over his “lost love”. Strangely enough, both his damaged voice and emotional turmoil ceased once last year’s award season was over, giving Butlarus hope that if he does develop the falling sickness during awards season, it will clear itself up one the season ends.

The release of Murphy’s bioplay, “Caesar”, has become a topic of controversy. Many, including myself, found Murphy’s decision to release the bioplay so close to Caesar’s death to be a vile, unethical ploy to profit off of the death of a man whose last wishes were disrespected. Despite “Caesar” being of questionable quality, I fully expect that the play will clean-up during the upcoming awards season. Critics rating: 9 stabs out of 23.

This article is part of “The Bacon” - The Beacon’s April Fools’ edition. We hope you enjoyed!