All hail Julius Caesar! Shakespeare Theatre never puts a sandal wrong in this thrilling production of one of the Bard’s best plays. There are no distractions of modern dress and gimmicky scenery—although the set is grand enough to evoke the glory of the capital of the ancient world. Director David Muse has let Romans be Romans—graceful togas, silver tongues, and all. The result is a political drama that resonates all too clearly in modern Washington. Even Marc Antony’s famous funeral oration—“We come to bury Caesar, not to praise him . . . .”—has a cadence that has been copied by many a current presidential candidate or political-convention speaker.

This is the story of a heroic Caesar who returns to Rome in triumph only to be brought down by a cabal of jealous opponents. The play is called Julius Caesar and Mark Antony has the best lines, but the drama really belongs to Cassius and Brutus, who lead the plot to assassinate Caesar. Scott Parkinson is terrific as the evil, oily Cassius. His underhandedness and manipulation of the truth are worthy of our city’s dirtiest tricksters. Tom Hammond is an excellent compatriot as the naive, idealistic Brutus.

Andrew Long’s Marc Antony is a model of stentorian splendor. And what of Caesar himself? Dan Kremer is appropriately confident as the powerful emperor of Rome—but in truth, the part requires no heavy lifting.

This is the first of two plays in the Shakespeare Theatre’s Roman Repertory. It will alternate with Antony and Cleopatra, in which Long will once again play Mark Antony. Julius Caesar has set the bar high—this has to be one of the best productions of this or any season.