Glancing through the news at two different occasions today, I found articles talking about a current Shakespeare production of Julius Caesar that’s running in New York and causing all sorts of controversy because of the allusions it makes to the present administration. I had heard about this production before it gained notoriety in the national news — my cousins, who live in New York City, happened to see the production about two weeks ago and were relaying details of it to me last weekend. Thus, it sparked my interest to see this show making headlines beyond our family dinner table. A Facebook friend talked about being in the audience this weekend when actual police in riot gear had to kick out protesters and stand in to maintain order, which made a confusing contrast with the actors who then appeared on stage in riot gear to control planted actors in the crowd who were also protesting. This article on the home page of Politico also analyzes the staging and its meaning in the context of the present situation.

I find this interaction between the circumstances of the present and the classics of the past fascinating. I don’t know the last time there were riots at a Shakespeare play — this seems like the kind of charged scenario of which high school English teachers could only dream. Furthermore, it’s fascinating to consider how people from the present are relating so intensely to something written 400 years ago — recounting reactions from literally thousands of years ago — which have remained relatable to audiences through all of these time periods. In some cases I think there is fear and intense discord regarding the current political administration because we feel that it is exceptional, that we are facing entirely new and unconquerable standards, but reflecting on this piece of literature and the history of this piece of literature, we find kinship through a series of centuries.

Personally, I find it extremely cool to see all of the art which reactions to the current situation has generated, and the types of reactions it has created in public spaces. Living in D.C. this summer, I’ve run into many different expressions of political satire and graffiti, and whether it’s been scrawled in an alley way or projected on a building or hanging in an art gallery, these messages, regardless of their level of sophistication, represent different out pouring of expression seeking public recognition and commentary. This rendition of Julius Caesar is simply another medium of this expression — albeit one that took months of planning and more careful consideration than scrawling “F— Trump” on a sidewalk did.

I don’t think that this kind of art will fix the political rift that is tearing America apart. For that, we need respectful, political discussion and the willingness to pause and try to understand between different parties. I do, however, think that this art is important as an outlet for people to try and express how they have been dealing with the realities of the situation, and serves an opportunity to interact and communicate with others about these feelings without either resorting to a shouting match or simply slinging facts and fingers back and forth.