Photo by Paul Ruffolo
Julius Caesar - First Stage (2026)
First Stage Young Company performs 'Julius Caesar' (2025)
This weekend, First Stage’s Young Company opened their production of Julius Caesar, directed by Ken Miller. Caesar is one of Shakespeare’s plays that has evaded me over the years; so, familiar of course with the history behind the script, I was excited to see it first.
The play is performed in the black box-style stage of the Milwaukee Youth Arts Center, and the set features just one raised platform on which Caesar, played by Edward Owczarski, begins the story posed as a statue of himself. The lack of ornament onstage as well as the simplicity of the costume design—each actor decked in white jeans, converse, and a vest or shirt or shawl—allowed for the story to exist outside of any particular time period and kept the focus always on the text and its auditors.
Every member of the ensemble was rock solid, and where verse can almost begin to sound like poetry, these actors refused to let the language fly out of their characters’ reality. Cai Weiss’s entrance as Casca especially read like that of a frat bro, ready to swap stories with Cassius (Natalie Ottman) and Brutus (Ben Nowacek). Each of the conspirators felt intentionally young, bickering amongst themselves and playing king of the hill while planning an uprising. It brought to mind questions of hastiness while full of good intentions. How does one answer the pressure to save one’s country while still young and unsure of what productive change should look like?
Depth of History
Photo by Rocco Onorato
Julius Caesar - First Stage (2026)
First Stage Young Company performs 'Julius Caesar' (2026)
Ottman and Nowacek clicked incredibly well as co-conspirators, as brothers-in-arms, and as friends with a depth of history between them. Ottman’s Cassius was razor sharp; she held herself with a confidence that at times bordered on hubris and at others felt fragile and closer to vulnerability. A moment that complemented her performance was the start of the stormy night, when the recruiting begins: Ottman stood at the stop of the platform as deep blue lights washed over her and lightning cracked over the speakers, releasing then into a heavy downpour. Marion Frank and Martilia Marechal, as lighting and sound coordinators respectively, did excellent work at building an atmosphere over the blank stage.
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Cassius’s other half, Brutus, was played by Nowacek with a tormented indecision, building slowly into a valiant attempt at fiery yet humble leadership before the rebellion falls into disarray. His post-assassination speech to the people of Rome—played partially by us, the audience—was stirring, and his commitment to honesty and honor felt painful in its misplacement. I could only watch as Marc Antony (Paxton Haley) took over and swayed the people of Rome to her side with naught but words. The establishment that we are Rome was particularly clever in that moment.
Haley was brutal as Marc Antony, unexpectedly tugging on our heartstrings when she discovered Caesar’s body, yet turning to play the part of the villain once given the chance—showing us what the martyrdom of a dead man can do for a cause. All the characters’ discussion of war, as well as the wonderful stage combat depicting intense battles, brought home the play’s debate of which hold more power: words or actions?
History is written by the victors, but plays don’t have to follow their stories. Young Company keeps these characters and their efforts alive in a clean, punchy, human performance of Caesar that lands frighteningly well in our own world and time. In addition to Caesar, Young Company will host their annual Bard-O-Thon Saturday, April 18th at MYAC—it is the perfect opportunity to support artists and see some very well-done Shakespeare.
Julius Caesar runs through Sunday, March 22nd, at MYAC 325 W. Walnut St. Visit firststage.org or call their box office at (414) 267-2966 to purchase tickets. See firststage.org/Young-Company for more information regarding their annual Bard-O-Thon.
