The lighting was, as always, gorgeous. The lounge singer singing "Suicide is Painless" to Brutus was haunting. The 60s-political visual look worked for me. There was a moment of Mark Antony standing by Caesar's body, looking up at the empty ampitheater seats, in which I could see the wheels start to turn before he goes to let slip the dogs of war. But there was a lot of sheer surreal, including:
- The whole "it's all an afterlife dream remembered by Lucius" theme was sort of puzzling. There was an insert explaining that; perhaps early audiences were totally baffled.
- All of Lucius's lines being in sign language.
- (This one is my favorite) The conspirators, after killing Caesar, vow to dip their hands in his blood. They do so slowly, one at a time, coating their hands dramatically with stage blood. Except for Cinna, who doesn't need to use Caesar's: he has brought his own supply of blood, in his suit pockets. Cinna was undoubtedly a Boy Scout.
- The car hanging above the battlefield
- The evolution of combat tech during the battle, from the huggystab to the glove pistol and then the machine gun, to what might have been a rocket launcher.
- The scene in which everyone entered and exited by rolling under the hanging set. (This counts as writhing on the floor, which the Totally Straight shows have also been missing.)