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?
Stephen Burdman: 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, 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.
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.