Killing Caesar (2020) by Jon Pescevich is an opera in two acts, based on Shakespeare’s “Julius Caesar”.
The Steps of the Senate – in the afternoon
Act One, scene 1
This is the center of Rome; it is a vast outdoor public space.
A great set of steps lead up and into the Senate, hiding the interior from the audience.
The crowd cheers from within the Senate, beyond the steps.
The Street in Front of Brutus and Portia’s Estate – at night
Act One, scene 2
This is a small deserted street which runs along the walls of Brutus and Portia’s family home.
There is a door in the wall, leading into the estate, and the roof is visible.
A small, but rather striking comet hangs in the night sky.
The Steps of the Senate – at night
Act One, scene 3
The comet has become much larger and dominates the night sky.
When the soldiers leave the protesters light candles, transforming the steps into sacred space.
By the end of the scene, the comet becomes red like a wound.
Caesar and Calpurnia’s Garden – at dawn
Act One, scene 4
The morning sky is blood red.
This garden is surrounded by walls, but there is a gate leading to the street.
Calpurnia’s art work fills the garden – comets, murder and anarchy are her subjects.
Her studio is on one side; the backdoor of their mansion is on the other.
The Steps of the Senate – at midday
Act Two, scene 1
Once Caesar is assassinated, the people flee, leaving the stage in horrible disarray.
As Antony shows Ceasar’s body to the mob, clouds gather and darken the midday sun.
The riot after Antony’s speech brings total destruction; the Senate burns as anarchy reigns.
A Field by Philippi – at night
Act Two, scene 2
A barren field in the middle of nowhere is littered by battle plans and the instruments of war.
Images of fear and memory are projected as Brutus dreams; Portia emerges from these and disappears.
As the clouds part, a terrifying and malignant comet slices through the star-filled sky.
Caesar’s Ghost brings a vision of civil war and Armageddon.
The scene changes are all in black, while the orchestra plays.
One set could rotate in while the other rotates out, or they can fly in and out.
It is important that the audience senses something unknown but powerful moving in the dark.
Most of the lighting in the opera is natural, but with distinctly psychological overtones.
The comet is both natural and a psychological projection; a symbol and a sign of the times.
Portia’s Ghost and the images that accompany her are part of Brutus’ dreams.
The soundless explosions of light should be shocking, terrifying and varied in rhythm.
The last video image of a mushroom cloud is a nightmare and a warning; it does not need to be realistic.