A brave choice. After a history and two comedies, one of Shakespeare's most fascinating plays, though difficult in its simplicity and lack of poetic riches, is the selection for this year's Summer Shakespeare Festival.

Julius Caesar is often best known for the one-line quotes, familiar to most of us from school studies, and generally applied out of context. The opportunity to hear these familiar lines in their true setting and without any tendency to overplay them is one reason this production is welcomed.

There are though more good reasons to enjoy this play. Under the enthusiastic direction of Shakespeare devotee, Elizabeth Chase, Julius Caesar receives an alert, thoughtful and resonant interpretation. In a basic, realistic reading of the script, the actors well maintain the pace, not always easy in a play which moves rapidly to the heart of the matter by the second page, and they keep the audience's interest until the final, inevitable end.

Keeping to the broad outline of history, Shakespeare's concern is the nature, and fate, of men who seek power from motives of jealously and envy, of the resulting corruption, falling out and destruction. Taking, as he did so often, the true measure of men, Shakespeare invests all the main protagonists with humanity. Caesar, triumphant and honoured is vain, easily flattered, Cassius an able but corrupt general, restless, fiery, Brutus too much a thinker, self-doubter, Anthony whose clever oratory masks his true aim.

Remarkably Roman coin look-alike, Allain Roy grasps Caesar's weakness as well as his moments of leadership. Choleric, sly Cassius is ably acted by Richard Roy, with expressive gestures and deep-voiced, rapid ascent to rage. Jonathan Springthorpe, occasionally a little muted in showing Brutus' internal struggle and reservations, nevertheless captures his wasted nobility that determines his essential mistakes. One of which is to totally underestimate Anthony, played here with persuasive manipulation by Scott Thomas. Raw ambition is only lightly clothed in grief for Caesar and fully revealed in his exchanges with Octavius. The latter, Caesar's nephew who later achieved great power and renown, appears briefly in this play, in a quietly authoritative performance from Cian Horrobin.

There are many good supporting interpretations from the fellow conspirators, all nicely individualized, though more thought is needed in moving the dead bodies around so giggles do not ensue. Two gently caring performances come from Mimma DeCarli as Calphurnia and Suzy Kimball as the unhappy Portia. Surprising is the scarcity of soldiers and citizens, necessary to fill out the crowd scenes; a particularly negative aspect of the funeral orations scene in the forum. Being an extra is a great way to get involved in a community production, the energy and fun of being on stage in character, without learning a lot of lines. Perhaps a thought for next year.

Keeping the scenery simple, a section of ancient wall and a trompe d'oeil statue, is effective, dwarfing with enduring age the action and the men of action. Costumes are authentic enough to satisfy, though all the togas needed a hot iron opening night. Live percussive music added atmosphere.

Performances continue July 21 to 24 at The Gothic Arches. Tickets are available at the Imperial Theatre.