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Julius Caesar

ICONS

From the restaurant terrace on the cliff top

at Agios Giorgios, Cape Drepanos,

we can see the small harbour below,

its sea wall curved like a scythe and, opposite,

the flat topped, steep sided, uninhabited

islet of Yeronisos, ‘Holy Island’ –

set today in that special, placid blue.

Folk tales have Greeks, after the fall of Troy

and exiled from home, land there and build

a temple to Apollo. Excavations

suggest the sanctuary was founded

by Cleopatra for Caesarion,

her son by Julius Caesar, the heir

she hoped, to Rome – Apollo being the god

of archery, knowledge, medicine, plague.

A few miles south on what, before the hotels

and villas came, was a deserted shore,

Colonel Grivas, Greek Cypriot ‘hero’

or ‘terrorist’, landed one November night

in ’54 to expel the British.

 

The restaurant is packed with middle class

local families in their Palm Sunday best.

After our mezze, fish fresh from the harbour,

we tourist St George’s church along the cliff –

a modern chapel-sized basilica

with its own square and drinking fountain.

We light a candle, as we always do,

more ‘good deed in a naughty world’ than faith.

A steady footfall of true believers

kisses the glass fronted icon of the saint.

A votive pink baby doll hangs from it.

Fifty yards inland, where there are ruins

of a Roman city, is a medieval shrine

to the saint – once a prayerful place for those,

Greek or Muslim, before Partition,

seeking love or strayed goats and donkeys.

 

On the fountain is a crude mosaic

of the Roman Soldier/Christian Martyr

slaying a dragon with its devil’s breath –

in Palestine, perhaps, or Syria.

Three leagues south is Aphrodite’s Rock

where the goddess was born among the spume.

Nowhere full of myth and history,

of irony and contradiction,

delineated by paint on wood

or finds in the earth or words in the air

is far from here over the bluest,

most changeable of seas.

 

 

 

 

A SILK PURSE: THE EVERYMAN THEATRE, LIVERPOOL

Before it was the Everyman Theatre

it was Hope Hall Cinema – and bar –

frequented by Dooley, Henri, McGough,

the Liverpool Scene. I saw Jean Renoir’s

1939 black and white ‘La Règle

du Jeu’ – Chekhovian, dystopian

entre deux guerres – in what was an untouched

dissenters’ chapel four-square between

the two cathedrals on Hope Street.

 

It became a theatre known for new writing,

new music – all with a political edge

and with humour, thumbing the collective nose

to one rule, one game – and genuinely

original staging of classics: the Bard’s,

Brecht’s, Brighouse’s examination texts.

Coach loads of young people from Liverpool,

Lancashire, Wirral and Cheshire would watch

the likes of Julie Walters, Jonathan Pryce,

Antony Sher, Alison Steadman

perform at rapt matinees, their teachers

relaxed that all was as it should be,

that they would never forget that afternoon.

 

That group of boys had seen ‘Hobson’s Choice’

the year before and we prepared for

‘Julius Caesar’ even more thoroughly,

listening to the Argo recording –

with Richard Johnson as Mark Antony –

while following the text. At what point

the parallel plan began to take shape –

with such diligence and application,

such textual scholarship and retail research –

or what inspired it or whom, I never

had the humility or joy then to learn,

and now too many threads have been unravelled.

 

As Act Three began – ‘The ides of March are come’,

‘Ay Caesar but not gone’ – some of the boys

began to be restless. ‘You gentle Romans -‘

Alan Dossor, the Artistic Director,

as Mark Antony, began. ‘Friends, Romans,

countrymen, lend me your ears.’ I can still see

the pig’s ear arcing towards the stage,

hear the audience’s gasp. Dossor paused,

picked up the ear by its tip and tossed it

stage left to much applause.

 

 

Note: the poem was inspired by current developments at the theatre: https://www.everymanplayhouse.com/the-company-2017