The Shakespeare In The Park production of "Julius Caesar" continues to make headlines after two corporate sponsors withdrew their support. They're joining others protesting the show's portrayal of Caesar looking and sounding very much like Donald Trump. NY1's Roma Torre filed the following review.

Seldom has a Shakespearean production generated so much controversy. But it is proof of the power of theatre and its ability to stimulate deeper thought. The Public Theatre's production of "Julius Caesar" finds an obvious parallel in the presidency of Donald Trump. And it's uncanny how the text, which is virtually unchanged, does seem to match somewhat our current political landscape. But regardless of the politics involved, here's the big question: Is it entertaining? The answer: a most unequivocal yes.

For director Oskar Eustis, the similarities are all too clear. References to Caesar's inflated ego, his confidence and authoritarian bluster are eerily Trumpian. And to hammer home the point, this Caesar has blond hair, wears a tie that's too long and has a beautiful Slavic-accented wife who swats her husband's hand away in public settings. 

At first, it's played for laughs, but as the Roman Senators plot Caesar's assassination, it becomes deadly serious. And by the time knives are drawn, Caesar's murder turns into a gory bloodbath. Much of the complaint stems from that scene, which critics say cuts too close to the bone. But there is no happy ending here, and Shakespeare's message, underscored by Eustis, is that democracy, so easily manipulated by rousing rhetoric, cannot be saved by violent means. 

The performances are exceptionally strong. Among the principals, John Douglas Thompson, recently Tony nominated in Jitney, is a forcefully animated Cassius. Gregg Henry does a mean Trump imitation as the nakedly ambitious Caesar - quite literally. In a twist of casting, Marc Antony is played by the always marvelous Elizabeth Marvel with a decidedly southern twang. And Corey Stoll's brooding Brutus is most excellent. 

Staging "Julius Caesar" in a contemporary setting is no novelty. And neither is drawing parallels to real-life figures. A production at the famed Guthrie Theater five years ago portrayed Caesar in the unmistakeable guise of President Obama. I don't recall any controversy back then. But perhaps the current outcry proves Eustis' point. Whether it's the era of Julius Caesar or Donald Trump, artistic expression suffers when democracy is itself under siege.