If Julius Caesar Were a Playlist

What does The Tragedy of Julius Caesar sound like in 2026?

Power. Ambition. Betrayal. A crowd ready to be persuaded—and a republic pushed to the brink.

As New York Classical Theatre gets ready for our summer production (June 2–July 5 in parks across NYC), we put together a playlist inspired by the characters and forces driving the play. If Caesar, Brutus, Cassius, and Antony had headphones… this might be what they’d be listening to!

🎧 The Playlist

1. “Everybody Wants to Rule the World” – Tears for Fears
Brutus, quietly realizing how fragile everything is.

2. “HUMBLE.” – Kendrick Lamar
Confidence, control, and a carefully managed image. Caesar again.

3. “The World Is Not Enough” – Garbage
Caesar energy. Power isn’t the goal—it’s the starting point.

4. “Bad Blood” – Taylor Swift
When friendship turns—and there’s no going back.

5. “No Church in the Wild” – Jay-Z / Frank Ocean
Cassius living in a world where power outruns morality.

6. “This Is America” – Childish Gambino
Antony after the speech—chaos under control.

7. “Control” – Halsey
Brutus trying to hold it together… and not quite succeeding.

8. “Seven Nation Army” – The White Stripes
The sound of something unstoppable building.

9. “Take Me to Church” – Hozier
Moral conviction—whether it’s right or not.

10. “Bury a Friend” – Billie Eilish
Calpurnia knows something is wrong.

11. “Formation” – Beyoncé
Power, presence, and absolute command. Caesar at his peak.

12. “Radioactive” – Imagine Dragons
The moment after everything changes.

13. “You Know I’m No Good” – Amy Winehouse
Cassius, self-aware but still pushing forward.

14. “Exit Music (For a Film)” – Radiohead
The quiet aftermath. The cost.

15. “Time Is Running Out” – Muse
Pressure building—decisions closing in.

16. “Alright” – Kendrick Lamar
The crowd finding its voice.

17. “Burn the House Down” – AJR
Escalation disguised as necessity.

18. “Glory and Gore” – Lorde
Violence becomes spectacle.

19. “I Know the End” – Phoebe Bridgers
Brutus, realizing where this is all headed.

20. “The Man” – Taylor Swift
Power, perception, and who gets to hold it.

What would you add? Let us know!

Observing a NY Classical Rehearsal

by Maddie Cassidy
Senior at The Heschel School

Photo by Da Ping Luo

Should you find yourself strolling through Central Park near The Pool at West 103rd Street, you may stumble upon something truly one-of-a-kind: a New York Classical Theatre rehearsal. Filled with laughter, smiles, and thought-provoking character discussion, NY Classical rehearsals cultivate a welcoming yet devoted attitude among actors and crew alike, who work together to create an exceptional, textually faithful production—and have fun while doing it.

Part of what distinguishes NY Classical’s rehearsal process is Founder and Artistic Director Stephen Burdman’s relationships with his actors, some of whom he has been working with for over a decade. Yet even with actors making their NY Classical debut, Burdman possesses a unique ability to not only deliver helpful constructive feedback, but to accept and consider that of the actors in doing so. He recognizes that all of the actors have studied their individual characters in just as great a depth as he has, and asks them for notes and feedback when difficulties arise. Ultimately, the rehearsal process is an entirely collaborative one, one where actors and their director work as partners in conversation whose contributions are equally important in perfecting the final product.

From the very first table read to the first public performance, to see the ways a NY Classical production comes to life during the rehearsal cycle is profoundly rewarding. Throughout the rehearsal cycle, actors and director alike make choices—some that stick, and some that don’t. But whether or not a certain blocking or pause tested in rehearsal makes it into the final cut, the little conversations that happen in making those final decisions develop into caring, lasting relationships built on a shared love of high-quality, accessible theatre.

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Join us for Open Rehearsals in Central Park, held Saturday–Thursday from 10:00am to 3:30pm, May 5–27. Drop by for a behind-the-scenes look at how scenes are staged, lines are shaped, and characters come to life. Rehearsals take place near the lake by the entrance at Central Park West and West 103rd Street. No tickets or RSVP required—just come as you are and stay as long as you like.

Designing "Julius Caesar" – An Interview with Garvin Hastings

In anticipation of the first performance of The Tragedy of Julius Caesar on June 2, we interviewed our show’s production designer, Garvin Hastings. They spoke about the historical research involved in the costume design process, their goals for this particular production, as well as what makes New York Classical Theatre’s production designs unique.

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Q: From your perspective, what’s different about the costume design process for productions like ours that take place outdoors, as opposed to traditional indoor shows?

GH: Our process is unique because our production is outdoors. Our actors work as performers and guides for the audience, leading them around a pond in Central Park. Each location becomes a different moment in our story. This presents challenges of terrain and weather, which we have to consider while creating the costumes. They have to have good shoes and a base costume that they  can layer different pieces to transform into the multiple characters. It’s also helpful because we have to cart all the costumes back to storage at the end of the night and then cart it back into the parks, so it has to be easily transported as well. So I think that’s a little different than what you’re used to with a typical theater that has a stage and a wardrobe section–we don’t really have that. I also did design it so that even if [the actors] remove a layer, it still conveys the same story. We have these senator capes, but the senator doublets tell the same story and give us the same idea, and that’s to help with heat control. Another thing I like to do is avoid polyester fabrics because they don’t breathe. [Actors] need fabrics that allow air flow to help control heat.

Q: Julius Caesar is a historical play, and although not everything in the play is exactly what happened to the characters in real life, these were real people. Knowing that, do you feel any additional responsibility to depict them as accurately as possible?

GH: Somewhat. Most Americans get a lot of their historical understanding through media of all different kinds, so there is this, especially if we’re doing a period piece, “oh, this is going to be impactful to some audience members.” But at the end of the day, what we’re doing is storytelling. That’s it. So I think as long as we’re telling a story that leaves the audience with questions, then we’ve done our job. But it is also helpful when designing a world or a story to kind of root yourself somewhere. So, when Stephen and I were conceptualizing this, we were looking at that Shakespeare–Peacham drawing–to find a way to mix the Elizabethan era and the Romans. Rooting ourselves in those two periods was helpful to make it cohesive and to make it make sense. 

Photo: The “Peacham Drawing,” believed to date from the late 16th or early 17th century, is considered the only surviving contemporary illustration of a scene from a Shakespeare play. Thought to depict a performance of Titus Andronicus, the sketch is attributed to Henry Peacham and offers a rare glimpse into early modern staging, costumes, and performance.

Q: In this production, the director has re-gendered some of the male characters. What challenges, if any, does this present in terms of finding inspiration for their costumes?

GH: It doesn’t really change the research much at all. Now, once we start working with the actors and talking with them about their characters, it might shift a little bit as we come to understand [the character] more through that actor and through their background and who they are, but it doesn’t really change where you find research. The only thing it might change is how you cut and drape a certain garment. 

Q: When thinking about a play like Julius Caesar where there’s a conspiracy and all sorts of power struggles, something that typically comes up is the idea of status, which characters have power over other characters, and where that power comes from. How have you tried to communicate the different power dynamics within the play through costumes, especially so that they’re clear enough for people who maybe aren’t so familiar with the play? 

GH: Well, we know that Caesar had his political power through the military, so I think you can definitely see that through the armor and who has what armor, and the amount of armor sort of shows status. And when we were researching the Romans, they showed status through what types of clothing they could wear and those stripes on their togas, so we tried to reinterpret that into Elizabethan doublets. So some people will have very few stripes and those stripes build as their status builds as well. I hope that’s clear to an audience, but I think the elaborateness of people’s garments will definitely have an impact. 

Q: Something else that stands out is the gloves for the stabbing of Caesar, because you obviously can’t have “blood” on set. Were these gloves the original idea?

GH: We can’t wash things after every single production, so we kind of have to come up with these “theater magic” ways to kind of scream at the audience what’s happening. And we originally thought red gloves because that’s something that’s been done before, but then we thought, what if we make it a little fleshier and it looks like there’s bloodstains on their hands and such. That’s kind of how we came to that solution.

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Performances of The Tragedy of Julius Caesar run from June 2 until July 5, Tuesdays through Sundays, at 7:00 pm. Click here for more information on locations, reservations, and special events like Family Nights, Dog Nights, and more!

Adapting "Julius Caesar" for the Park

Stephen Burdman, Founding Artistic Director of NY Classical

As New York Classical Theatre prepares its 2026 production of The Tragedy of Julius Caesar—the company’s 50th production—Founding Artistic Director Stephen Burdman is already shaping the play for Panoramic Theatre. Unlike a traditional stage production, this work begins not with a set, but with the park itself—its paths, landscapes, and the audiences who will move through it. Below is a quick Q&A with Stephen on how he approaches adapting Julius Caesar for this uniquely New York experience.

Q: Why are we doing Julius Caesar this year? What made you pick it?
Stephen Burdman: Of all the plays in the canon, I would say Julius Caesar is the play for now.

Q: Why is that?
SB: It deals with so many of the same political issues and struggles that are happening in the world right now.

Q: How does cutting the play for the parks and for multiple locations shape your approach to the script?
SB: When cutting a play for a Panoramic Theatre production, it is very helpful to think of the venue, the park, as a character in the play. So when I’m working on the text, I’m actually thinking about the space and where the architecture of the park best supports specific scenes. And then once we begin staging, we’ll continue to make adjustments for the trees, bushes, hills, bodies of water, and other natural elements to help tell the story. At the same time I am also thinking about you, the audience, and your experience in the park. Where are you sitting or standing? From what perspective do you view individual scenes? And, most importantly, how can we surprise you!

Q: What’s the most surprising thing you’ve discovered in the Julius Caesar script so far?
SB: I think the most interesting thing I’ve discovered so far in the script has been the humanity in the words of the characters. These are, for the most part, all leading citizens in Rome—they’re senators, generals, and the shapers of society. In the play, Julius Caesar is about to become king, for life, but never quite achieves that. And yet, we see how his assassination affects everyone, not just those in power.

Q: You’re actively talking with actors as you shape the script—how does that collaboration influence the process?
SB: Well, first, I am working with mostly actors who are Artistic Associates of NY Classical. I’ve been working with some of them for many years; some nearly two decades. It’s great to collaborate with these folks and in the actor-director relationship we have established a shorthand—a way of working together that, externally, appears seamless. For starters, I am able to hear most of their voices when I’m cutting the text, and that’s really unique. I also reach out to selected performers when I’m struggling with a specific line or moment in the text. I want to make sure my thoughts are in line with what they are thinking about their character, and my adaptation is giving them the textual support they need to play these moments. I love these pre-production moments of collaboration, and so do many of the performers!

Q: What’s been the hardest part of adapting the play?
SB: Julius Caesar is very much about the world of Rome—and today too. And I feel like I want to make sure that we tell the story completely and honestly. Now that I’m entering Act 4 in my adaptation cut, I feel like I’m on a roll and it’s much easier to shape the story. But the initial thing—it oftentimes is the case for me for almost any Shakespeare play—is getting that first act right. That first act sets the tone for the rest of my work.

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For New York Classical Theatre, adapting Julius Caesar is not just about condensing the script—it’s about shaping the story in conversation with the space, the actors, and the audience. This summer, the company’s outdoor production invites audiences to experience the play as a shared, immersive event, moving through the landscape alongside the actors. Performed in parks across the city and free for all, The Tragedy of Julius Caesar continues New York Classical Theatre’s mission to bring high-quality, professional theatre directly into public space—no tickets, no barriers, just Shakespeare in a uniquely New York setting.

The Tragedy of Julius Caesar runs June 2–July 5, 2026 in parks across New York City. Performances are free and open to the public. Learn more and reserve for updates at nyclassical.org.

Rome to Right Now: NY Classical Announces Civics Programming Around "Julius Caesar"

As the United States approaches its 250th anniversary, New York Classical Theatre will pair its 2026 production of The Tragedy of Julius Caesar with a season of public programs exploring the play’s enduring questions about power, rhetoric, and democracy.

At the center of this initiative is a new partnership with Civics is Sexy, a nonpartisan organization that uses the arts and storytelling to transform civic learning into engaging, accessible, and relevant experiences for modern audiences. Together, NY Classical and Civics is Sexy (CIS) will invite audiences to explore the political and rhetorical forces at work in Julius Caesar—from persuasion and public opinion to the dangerous consequences of mob mentality and political violence.

“Theatre has long been a space where societies grapple with questions of political power and collective responsibility,” said Maximina Juson, Executive Director of Civics is Sexy. “This partnership invites audiences to watch those tensions unfold onstage and consider their own role in shaping public life.”

Rather than offering answers, the partnership will frame a series of questions inspired by Shakespeare’s play: Who holds power in a republic? Who checks it? When does protecting democracy begin to undermine it? And what happens when rhetoric outruns reason?

Central to these conversations is the play’s most dramatic act: the assassination of Julius Caesar. Through guided discussions and educational materials, the program will examine how political violence—often justified in the name of protecting a republic—can reshape public trust, fuel instability, and alter the course of history.

The Tragedy of Julius Caesar is one of Shakespeare’s most searching explorations of political responsibility,” said Founding Artistic Director Stephen Burdman. “By bringing the play into public space and partnering with Civics is Sexy, we hope to create opportunities for audiences to reflect together on how democracies function—and how fragile they can be.”

The civics programming surrounding the production will also include student matinees, dramaturgical materials developed by Shakespeare scholar Sid Ray, Family Nights with Playday, nonpartisan voter registration opportunities, the company’s Vino & Verse conversation series, and public open rehearsals in Central Park offering audiences a behind-the-scenes look at how NY Classical’s signature Panoramic Theatre brings Shakespeare to life.

Presented free of charge in New York City parks, NY Classical’s immersive productions place audiences inside the action—echoing the communal spirit of classical theatre while inviting contemporary audiences to reflect on the civic questions at the heart of Shakespeare’s work.

Upcoming Events & Civics Programming

Vino & Verse – Mar 11, Apr 15, May 13, 7 PM – NY Classical Offices (11 Broadway) & Zoom | Click here for more info

Open Rehearsals – May 4–27, Saturday–Thursday, 10 AM–3:30 PM – Central Park (enter at W. 103rd St & CPW) | No registration necessary - just show up!

Student Programs – May 20, 11 AM (Behind-the-Scenes Rehearsal); June 5 & 11, 11 AM (Student Matinees) – Central Park | Click here for more info

Civics is Sexy Evenings – June 4, 11, 18 (Central Park); June 25 (Carl Schurz Park); July 4 (The Battery) – 6:15 PM voter registration & info booth open, 6:45 PM conversation, 7 PM performance | Registration opens April 13

Family Nights with Playday – June 6 & 17 (Central Park); July 1 (The Battery) – 6:15 PM activities, 7 PM performance | Registration opens April 13

More information and updates can be found at nyclassical.org.

Happy Hour with the Bard? Yes, please!

WEDNESDAY, OCTOBER 8 AT 5 PM
ZOOM & IN-PERSON AT THE NY CLASSICAL OFFICES

Our in-person tickets are sold out—but there’s still time to grab your
FREE Zoom ticket for the very first Vino & Verse! 

Skip rush hour and join us online for this lively exploration of Shakespeare’s original practices—how his actors brought the plays to life without directors, lighting designers, or weeks of rehearsal. Together, we’ll look at how cue scripts, costumes, and shared light with the audience created performances full of immediacy, spontaneity, and deep connection.

Presented by Sid Ray, PhD
Professor of English and Women’s & Gender Studies, Pace University
Dramaturg, text coach, and longtime NY Classical Board Member