Sleek update makes struggles relevant

Shakespeare knew well that power corrupts, but “Julius Caesar” demonstrates that violence and war aren’t the answers.

Actors’ Theatre of Columbus makes a compelling case for the 1599 drama in a brisk modern update.

Director Philip J. Hickman girds the Roman tragedy with propulsive action and sharp characterization that make it easy for the audience to lend its ears and eyes to the cautionary tale.

At the opening Friday at Schiller Park, Jennifer Feather Youngblood grounded the production with quiet authority in the gender-reversed central role of Brutus.

Her canny intelligence generates intriguing contrasts with Samuel Bowen Partridge’s passionate Cassius, who enlists Brutus in his conspiracy to assassinate Caesar.

Victor D’wayne Little humanizes the title role of the Roman ruler. While delivering Caesar’s smooth words with charisma, Little occasionally verges on making the tyrant too sympathetic.

His assassination is convincing (thanks to Jason Speicher’s fight choreography) and poignant (thanks to Little’s piercing gasps and audible death rattle).

Travis Horseman plays general Mark Antony with forthright conviction and sly eloquence. He invests the “Friends, Romans, countrymen” speech with double-edged

dexterity and rabblerousing energy.

Powerfully staged, the speech becomes a chilling indictment of mob psychology as Romans, scattered throughout the lawn, shout at Brutus and are incited by Antony toward more violence. That’s how the rule of law breaks down — an ominous sight, especially in our fractious times.

The black-and-white clarity of the production is reinforced by Emily Jeu’s monochromatic costume design (stylishly contemporary, from tailored business suits to crisply utilitarian military uniforms) and the brutalist simplicity of Andrew Weibel’s white scenery.

William Bragg’s martial sound design adds dark portents of suspense.

At just more than two hours, including intermission, the tightly focused “Caesar” might be streamlined but feels complete. The superb 13-member ensemble and smart design make thesobering revival about “privilege and power” an auspicious start to the troupe’s 36th season.