Thorsten appeared in many stage productions at the Hilberry Theatre, a unique graduate repertory theater in Detroit. Reviews of some of these producations are available here.
Above: As Eilert Loevborg in Hedda Gabler
The drudgery of getting through the Hilberry's flatly acted Julius Caesar is relieved from time to time by some rather striking lighting effects playing on a imposing surrealistic set, and by some adroit staging by director Robert Emmett McGill.
McGill is after a highly stylized Caesar, in which death literally becomes a dance, and blood is represented by rather startling scarlet ribbons coiled around hands and arms.
Brent Menchinger's set features sharp geometric shapes that remind us of huge shards of glass.
The theme is continued in the shard-like daggers carried by Caesar's assassins. And when James T. Allen's lights bathe the stage in red, then blue, then macabre shadows, the effect of a terrible nightmare is complete.
But the dopey costumes look like an imitation of the old Star Trek wardrobe. And too many of these friends, Romans and countrymen sound like high school actors.
Let's just be thankful for listenable actors in two key roles - Thorsten Kaye's genuinely passionate Marc Antony and Michael S. Ouimet's down-to-earth Brutus.