In Hytner's production, Brutus; portrayed by Wishlaw demonstrates a hypothetical killing of Caesar with a gun. This, then perpetuates to Act 3 Scene 1 as Ryan stated. Hytner's choice of utilising a firearm in the production instead of a sword is indicative of an attempt to adapt to modern weaponry.

In Hytner's production, Brutus' noble qualities are echoed by Whislaw's portrayal. His agitated voice correlates to a sense of uncertainty and fearfulness as he prepares together with fellow conspirators to assassinate Caesar. During his speech, the ubiquity of gestures as he dashes about the stage reinforces his intense concerns - including inflictions upon his reputation.

The heightened emotional tension elicited by the recurring metaphorical image “to cut the head off” and “hack the limbs” emphasises Brutus’ conflicting intentions. His respect towards Caesar’s corpse is underscored by the prevailing aspiration to “carve him as a dish fit for the gods, /Not hew him as a carcass fit for hounds”, accentuating his esteemed nature through the forewarning: “our course will seem to bloody”.

Hytner completely omitted 'Cicero' from his production, reflecting the discrepancy between two disparate textual forms. Whilst 'Cicero' only appears once and mentioned twice in play format, he fails to retain any significant impact. However, in the theatrical format, Cicero's inclusion will have lessened the audience's engagement, from its gradual culmination. Cicero's transience also complicates the play; by a lack of a meaningful characterisation for the audience.

Casca accentuates Brutus’ honourable persona through his likening to an “alchemy” – alluding to the Hellenistic tradition; chrysopoeia. A metaphoric parallel associated with the tradition is emphasised by Brutus’ patriotic assertion upon Roman citizens, changing them into “virtue” and “worthiness”.

The rhetoric in Cassius' argument is distinguished in his speech - highlighted by the repetition of 'what', which evokes a multitude of synonymous images encapsulating a topsy-turvy Rome. Nevertheless, his logical appeal to Rome's instability triggered by Caesar's leadership successfully manipulates Casca.

"The fault" suggests Caesar's dictatorship will lead to irrevocable turmoil for Rome, where the symbolic: "not in our stars" shows a future led by Caesar is unwanted. When Cassius proclaims "But in ourselves, that we are underlings", he suggests metaphorically they are responsible of taking action. The repetition of rhetorical questions: "what should be in that 'Caesar'?" and "why should that name be sounded more than yours?" appeals to Brutus' ego and vanity and emphasises how they are all equally capable human.

When the 'Soothsayer' says: "Beware the Ides of March", there is a break in Shakespeare's iambic pentameter. The omission of four syllables or two beats is indicative of Caesar's reaction in a production - in which the actor plays this moment of silence by: thinking, listening or taking action. This juncture is effectively translated from text in Hytner's production as Rishi has explained.

Throughout Act 5 Scene 3, the dimmed lighting, fogged stage and war-themed theatre properties including barbed wire and wooden blocks in Hytner’s production convincingly represents a warfare environment. Brutus’ speech acknowledges Caesar’s supernatural presence in the conflict. Hytner conveys his clever plan for Caesar's reappearance as a ghost by rising from the dead through a platform below the stage, highlighting Brutus' trauma arising from Caesar's ghost's omnipresence.

Hytner's decision to omit Act 2 Scene 4 from his production reflects the discrepancy between two disparate textual forms. In this scene, Portia deploys Lucius to monitor Brutus' actions and converses with the Soothsayer, regarding his concerns to Caesar. Whilst this provides more context in the play format, its effectiveness is diminished if presented in the theatrical format. The Soothsayer's cyclical attempts to warn Caesar will have detracted the audience from the previously accumulated tension.

In addition to Thomas’ below annotation, Hytner’s decision to insert “Caesar!” (spoken by the Soothsayer) into the play’s script was a supplement to the production’s fluid transition between Acts. This elicits a response, enabling Calder (Caesar) to deliver a benighted proclamation: “The Ides of March are come” – which amused the audience. Nevertheless, the Soothsayer's attempt to warn Caesar is dismissed by a giggle.

Adapted from Plutarch's 'Life of Brutus' - this moment is famously dramatised by Shakespeare. Throughout the play, an accumulated emphasis on the Soothsayer's prophetic "Beware the Ides of March" elicits a parallel to superstitious ideologies. It is an allusion to Ancient-Roman Soothsayer practices, in which they would 'avert their rites' (Apotropaic Magic) during a superstition. In this case, Caesar ignores the Soothsayer's warnings, ultimately compromising his own life.

Shakespeare exemplifies a catachresis - where "speak, hands" is metaphoric of a signal to assassinate Caesar.

When Marullus metaphorically identifies the Plebians (Roman commoners) as "blocks", "stones" and "worse than senseless things", he highlights their vulnerability to manipulation as their initial loyalty towards Pompey had been deviated by Caesar's triumph (cult of personality).

Examines how Caesar's immense power and influence within society, where the simile: "like a Colossus" [Colossus is an allusion to the giant statue of Apollo, a Greek God] illustrates his incomparable status to the tribunes and Plebians. The metaphor "walk under his huge legs and peep about /To find ourselves dishonourable graves" underlines Caesar's dictatorship which Roman citizens adhere to.

As Brutus weighs all possibilities before taking action, he adjudicates his conflicted thoughts through his loyalty to Rome: "Brutus had rather be a villager" than "repute himself a song of Rome", expressing his strong sense of duty and the concept of prioritising Rome.