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’s epilepsy got an African touch suggesting spiritual gifts, though most topical and appalling was the piling of brown limbs up and down-stage of the main playing space, an image conjuring the atrocities of Rwanda. Radio broadcasts announced rioting, reported on the ravages of AIDS, and prophesied erupting violence. The assassination followed SeZaR ’s refusal to heed Brutus’s plea to act in response to a
choice to locate the production in Fascist Italy, this setting was still designed to underline the relevance of the play’s treatment of violence to contemporary hostilities throughout the world: ‘We’ve had wars of late in Kosovo, Bosnia, Rwanda, but … [b]ecause we’re not as worried about being attacked by nuclear missiles, we have a chance to look at the essence of those wars. They’re very clan-oriented, very much family against family, which [is what] this play is about’ (quoted in McMahon, A5). By emphasising the ‘clan