In Marin Shakespeare's production of Julius Caesar, it is impossible to decide who is indeed "the noblest Roman of them all," since director Robert Currier has brought in such a superb triumvirate of actors.

Barry Kraft in the title role is every bit the old warrior, noble in his time but given now to falling fits and prone to the easy flattery of Roman rabble. Jay Karnes (of The Shield) takes brooding integrity to a whole new level as his Brutus assassinates his former idol/mentor. And William Elsman shows a gift for evil as his foxy, ambitious Antony pretends to be after revenge but promotes his own agenda. All three stride the outdoor stage like titans, while Jack Powell's focused Cassius orchestrates the action.

The story may sound familiar, since the play is taught in four-out-of-five high school lit courses: Because Caesar is now old and has become too popular and self-serving, Cassius spearheads a campaign to eliminate him. He convinces Caesar's brother-in-law and best friend, Brutus, that Caesar really wants to be king of democratic Rome. With a faction of the discontented (actors Stephen Klum, Lucas McClure, Barry Hubbard, Gary Grossman and Brian Trybom are a motley crew who add to the suspense and also bring in a bit of needed humor), the plan goes forward even as a soothsayer warns Caesar to "beware the ides of March." This line is even more recognizable than "yon Cassius has a lean and hungry look," or "the fault lies not in the stars, but in ourselves" or even "cowards die a thousand deaths..."

After many good lines--and lots of knife thrusts--the bloody deed is done and Caesar returns only as a bloody ghost. Now Mark Antony is free to go for the crown. He has the well-named Octavius Caesar (Carl Holvick-Thomas brings the sycophantic weakling to life), with a determined Lepidus (Tom Reilly), on his side. Battles ensue and many dedicated soldiers die and some leaders fall on their swords.

As the great men's wives, actors Alexandra Matthew and Cat Thompson make the most of the play's emotional moments. Matthew relates her dream of blood, while urging Caesar to stay home until the Ides are over. Thompson's Portia (as fierce as Lady Macbeth) wants to know what the problem is with Brutus, and reminds him that she is his equal partner and not just his "harlot."

Director Currier keeps the playing field level with this cast of local actors and invited guest stars. The drama clips along with intimate moments slowed and presented as close-ups. Elsman plays several of his scenes downstage as well, and his delight in behaving badly makes him a watchable villain; something like Iago, he is always an audience favorite. When this actor takes off his toga and appears in louche briefs and flowing scarves, the streets of Rome become more colorful. No doubt this costume is a leftover from the Egyptian court where Antony has just been playing with Cleopatra and not a director's desire to add a bit of beefcake to the show.

The lights and sound (Ellen Brooks and Billie Cox) get a workout as nature and gods protest the behavior of men. Lightning flashes and thunder rolls as "graves open, and lions are whelped in the street." Costumer Claire Townsend uses shawls and shields and bottlebrush helmets to add interest to the white togas. Fight director Brian Herndon brings soldiers through the audience for his short but ferocious stage battles. A large group of actors works hard to show us the rabble that is the heart of politics, then and now, as the citizens of Rome shout praise and/or abuse at their chosen leaders.

Julius Caesar runs in repertory with Lesley and Robert Currier's adaptation of Twelfth Night, or All You Need is Love, a contemporary musical based on the popular summer comedy. Whether you see one or both, the warm September evenings will be well spent watching this excellent troupe do justice to Shakespeare's immortal words.

NOW PLAYING
Julius Caesar runs through Sept. 27 at Forest Meadows Amphitheatre, Dominican University, San Rafael; 415/499-4488. www.marinshakespeare.org.

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