Shakespeare enlists considerations in Julius Caesar to provide complex opposing motives of different characters, these characterisations gives the characters different representations of Caesar. Shakespeare captures for us this notion via the foreshadowing of personal abhorrence many characters have towards Caesar portrayed through the simile comparing Caesar to " bird soaring above" other citizens of Rome.authority. This foreshadows the plot of a regicide and ultimately take his place as their own and the natural human obsession with power and the thirst for authority. The foreshadowing of Caesar’s downfall and rebellious events displays that self-serving human nature tempted by power and ambition.

The clothing worn by the cast of Hytners Julius Caesar Theatrical production are that of the modern reality we are currently living in. Hytners choice of doing so evokes a sense of universality and timelessness in which it reflects upon the society we are living in. The performers re-enact a modern version of their charcters such as David Calder’s Caesar who has the same jowly look and the stiff, arthiritic stride as one Donald J. Trump. Far from seeming a fascist monster whose overthrow we automatically cheer, emerges as a charismatic crowd-pleaser whose first instinct is to hurl his baseball cap into the audience. These obvious changes in the play reflect upon the society we are living in.

Hytner starts with a pounding rock concert staged as part of a pro-Caesar rally, political rally: a reminder that even putative dictators can be populists. Merch stands flog cheap red “CAESAR” caps to the crowd and cheer him on at the start of the play. Caesar pro flags fly over the stage as the metaphorical songs dictate the victory by Caesar and his army, while the "Plebians" being the audience celebrate with the rock band.

Hytners production changes details of the settings and cuts out part of the play such as "chariot wheels" so the audience can intertwine with a modern "version" of the play compared to the old script, getting rid of the non relatable parts of Shakespears original text. Hytners expelling of certain lines gave performers freedom to futher evaluate the emotions and characterisation of the characters.

Shakespeare's in medias res Marrullus's metaphorical juxtaposing image "hard heart" discerns the Plebeians vulnerability towards authority and manipulation. Pompey, once a honoured man whom the Plebians once triumphed so enthusiastically, now the dead "enemy" of Rome elicits the different opinions of Caesar by the senators and Plebians.

Shakespeare’s use of the pun, a play on words, in the opening lines of this scene. The word cobbler meant bungler as well as shoemaker. “all that I live by is with the / awl.” Since Shakespeare’s audience was often noisy and rowdy, he opens the scene with humorous wordplay to focus his audience’s attention, make them laugh, and get them to listen. The developing conflict surrounding Caesar’s growing ambition then follows after.

With guns substituted for swords as havoc is cried the eventual challenge for the actors is to raise their voices above the cacophony. While they do their best, the final half-hour of strobe-lit gunfire wastes the cast and so too its message. This scene gives the actors an opportunity to reevaluate and let the characters once again have their voice in the play, the scene Mark Antony's stature and voicing foreshadows and lets the audience know of the ultimate demise of Brutus and the obscurities of conflict due to politics.

The opening of Brutus's lines in Act 2 scene 1 of Nicholas Hytner's play portrays what looks like a modern day study room with books and a lamp laid out to only provide light to him. The books laid on the table are there to purposely represent the current stature of the world and and the play. "Saddam Hussein" was President of Iraq and A leading member of the revolutionary Arab Socialist party, these connections to the play and modern society lets the audience reflect upon personal conflicts and matters in the modern world.

Ending with the departure of Cassius, Casca and Cinna after discussing the arrangments the manipulate Brutus's mind and act as catalyst to move him the their side. The start of the scene opens with sirens and what looks like secret police attacking pro Republican members and harassing them. This exemplifies the current state of world order we are currently in the freedom of political thinking in many parts of the world denied and forfeited due to political censorship, and the harassment of police powers protruded onto the people.

Shakespeare portrays Brutus' wife Portia, as a strong and independent woman. When Portia arrives and tells him he has left her bed and given her unkind looks. He lies, telling her he is sick, to which she responds that it appears to be a sickness of the mind, not of the body. A strong woman of brave lineage "Think you i am stronger than my sex, Being so father'd and so husbanded", she again begs him to tell her what is wrong, this is an example of the gender roles in the play. The Elizabethan era saw stereotypes and bias towards the women, there political freedom and life were limited to what the men said.

Cassius's sentiment is shown through his dialogue with Brutus about the planned killing of "Let Antony and Caesar fall together". Shakespeare portrays, through metaphorical image, Brutus's respect for Caesar and his own cause "our cause will seem to bloody". Letting Mark Antony live, a loyal combatant to Caesar and a dear friend, foreshadows the following events which would happen as they believe him just to be a follower "For Antony is but a limb of Caesar.

Caesar's catastrophe manifests in his refusal of Brutus's final offer " Pardon, Caesar! Caesar, pardon!" which infers in the wordplay a final chance for Caesar to show humanity.

Conflict in reasoning of Caesars death is shown here, the use of animal imagery, namely a serpent, symbolic of power and evil represent Caesar demonstrates fear Brutus has of Caesar's corruption. Brutus fearing of his rise to a "serpent" decides to kill him while in his "shell". The extended metaphors of Caesar to different analogies provides a deeper insight to what the characters thought of Caesar.

Shakespeare's metaphor encapsulates for us Brutus's love for Caesar, enough to respect his remains and not have the murder perceived as gruesome but as essential for Rome to remain free, peaceful and have liberty. Brutus wanted his body to be "fit" for the "gods" and not "carcass for hounds". This way of thinking would affect the murder from being seen as savage to humane, only doing what was necessary to kill him.

Brutus is shown to be strong and honourable but he can still be manipulated, this is shown to be a theatrical pun to 'metal' and 'mettle"