From Casca's recount, Shakespeare presents a chaotic backdrop: "For I believe they are portentous things unto the climate that they point upon", in which connotations to the severe weather is utilised to foreshadow the political turmoil to unfold. Furthermore, atmosphere is created through "portentous things" to illustrate an ominous premonition, wherein the gods are displeased with the conspirators' plotting.

It is through Casca's verse, the deterioration of the natural order is revealed: "The ambitious ocean swell and rage and foam To be exalted with the threatening clouds". Shakespeare's application of pathetic fallacy in "ambitious ocean" and "threatening clouds" is used to symbolise the repercussions of disrupting The Divine Right of Kings. Shakespeare corellates the conspirators' scheme to the wrath of the gods to intimidate and discourage conspiracy or the upheaval of monarchy to audiences of the Elizabethan era.

In the production, Andoh is presented casually next to Brutus and Cassius. Hytner creates this dramatic scene through the utilisation of suspense in Casca's news and her message to exhibit the harsh censorship of disgracing Caesar's name. Additionally, the inclusion of theatrical properties (chairs) complement the scene, through its correspondence of the conversation to a gossip, a more modernistic appeal.

Caesar's confidence and self appraisal is depicted through David Calder, who embodies Caesar's seeming paranoia: "Let me have men about me that are fat ... Yond Cassius has a lean and hungry look". Calder expresses Caesar's frustration through his tilted head and slouched back, aggressive hand gestures, and disappointed tone of voice. When Caesar vindictively accuses Cassius' disingenuous intent in, "Yond Cassius has a lean and hungry look", Hytner dramatises Caesar's anxious state via his constant pacing and worried facial expression, as to further highlight his paranoia regarding the stability of his political ranking.

Caesar slowly turns around before he says "the gods do this in shame of cowardice". Hytner portrays Caesar's exasperation through his body language and facial expression, to portray his determination to prove his courage to the gods, and ultimately to himself. Caesar's confident stance and slow pacing, along with a stern appearance contribute to his image of self assurance, despite the approaching danger. Therefore, audiences are able to apprehend his delusion, as he misinterprets the gods' supernatural warnings as a test of bravery.

Ben Whishaw's performance of Brutus is exemplified in his ability to ingeniously portray the true essence of his character in "all the interim is like a phantasma or a hideous dream", wherein stage direction and body language are used to convey Brutus's troubled emotion, as he contemplates his commitment to execute the sinful deed. Brutus's short pause before he says "phantasma" allows audiences to recognise Brutus's awe, and thus his humanity and social conscience, to form contrast with his foil: Cassius.

In Brutus's verse, he advises the conspirators to "look fresh and merrily", to conceal their malicious intent. Here, verbal irony is established through Brutus's contradicting statements: to hide their sinful objective, whilst asking to kill Caesar boldly and "appearing to the common eyes". Shakespeare uses Brutus's inner conflict as a recurring motif to signify Brutus's psychological struggle of morality within himself to unmask his deep concern for Rome and its people, whilst constantly balancing principles.

Shakespeare provokes readers to reflect the righteousness of Caesar's ascent to power through Brutus dispute: "Shall Rome stand under one man's awe? What, Rome?" Personification and rhetorical question is applied through Brutus's description of Rome "standing under one man" and "What, Rome?" to present an antagonistic perspective of Caesar's ambition and expose Caesar's threat to society as an irrepressible tyrant. Shakespeare's effective utilisation of historical allusion parallels Caesar to Rome's former, corrupt ruler, Tarquin, to further emphasise his unmitigated attainment of power. Furthermore, Brutus says "Thy full petition at the hand of Brutus!" thus revealing his tragic flaw: the need to be noble. This exhibits to audiences Brutus's sense of responsibility and selflessness to the Roman people and their demands.Hence, Brutus's noble sacrifice of loyalty and friendship for the benefit of Rome is illustrated in his altruistic traits.

In the NTLive performance, Hytner alters the dialogue of the commoners. The euphemism of "Be gone!" to "Pompey's dead love, get over it! Caesar! Caesar!" is adapted through mise en scene to highlight the unsophisticated mindsets of the plebeians, wherein modern society is reflected. The casual atmosphere, clothing, and zealous shouting from the commoners add to the rowdy scene to depict their absolute mob mentality.

The use of stage lighting on Artemidorus places sole emphasis on her character. The spotlight above Artemidorus interlaces her to the "mighty gods", presenting her figure as a messenger from heaven. Hytner further enhances Artemidorus's letter through a swift transition of her tone in "Security gives way to conspiracy." to highlight the tension and vulnerability of Caesar, and portray the extent of his ignorant confidence. Artemidorus's sex is also modified in this production to contrast with Shakespeare's initial play. This allows audience to direct attention towards the letter and recognise its significance, rather than on the character. Unlike Shakespeare's comedic take, Hytner utilises this scene to create a dramatic build-up, to form anticipation, leading to the climax.

In Artemidorus's soliloquy: "If thou read this, O Caesar, thou mayest live; If not, the Fates with traitors do contrive.", iambic pentameter and rhyming couplet is utilised to place emphasis on "live" and "contrive" to stress the relevance of Caesar's forthcoming danger. The final lines of Artemidorus' soliloquy present a pessimistic outlook on Caesar's circumstance as Shakespeare implements the foreshadowing of Caesar's possible downfall through "If not, the Fates with traitors do contrive" to reveal the treacherous intent of those devoted to him, providing an opposing viewpoint on the conspirators' plot. Shakespeare includes Artemidorus's letter to accentuate Caesar's hubris, to prognosticate the foreseen consequences which condemn his excessive pride and narcissism.

Here, Caesar says "Et tu, Brute?" translating to "and you, Brutus?", to portray Brutus's absolute betrayal of his closest friend for the benefit of Rome. Dramatic irony is displayed through Caesar's unwitting discovery of Brutus's decision to kill him, despite several warnings previously. At this point of the play, the climax and epitasis is made clear, through the main action of the play: the death of Caesar. Shakespeare creates tension in the scene through foreshadowing Caesar's undoing in his final monologue, with a sudden contrast in tone. Through Caesar's parting words "Et tu, Brute?" Shakespeare employs ambiguity by acknowledging Caesar's unsuspecting trust towards Brutus to challenge Brutus's perspective of Caesar as an ambitious dictator.