‘The lamps are going out all over Europe. We shall not see them lit again in our lifetime.”
Thus said Sir Edward Grey on the eve of World War I, those four ghastly years of death and destruction that were the genesis of the even ghastlier horrors of World War II.
There are nine lamps on the stage of Romeo Castellucci’s poetic, chilling, utterly extraordinary, pared to its essence Julius Caesar. The number nine is significant in both Christian and Jewish numerology for both good and evil. The lamplight does not illuminate the action. It’s just there, until it isn’t.