Mark Antony rises to speak beside Caesar's dead body.

The noble Brutus has told you that Caesar was ambitious.

If it was so, it was a grievous fault and grievously have Caesar answered it.

If something about this performance is not what you're accustomed to,

he was my friend.

Faithful and just to me.

If Mark Antoni's vocal register is higher than what you're used to hearing,

when that the poor has cried, Caesar hath wept, ambition should be made of sterner stuff,

yet Brutus says he was ambitious.

And Brutus is an honorable man.

Well, there's a reason.

From the Folger Shakespeare Library, this is Shakespeare Unlimited. I'm Michael Whitmore,

the Folgers director. What you just heard was actress Cush Jumbo in an all-female production of Julius Caesar that was first produced by the Donmar Warehouse

in London in 2012, part of a trilogy of all-female Shakespeare productions directed by Tony Award

nominated director, Philida Lloyd. The other two legs of the trilogy were Henry IV, produced in 2014 and The Tempest in 2016.

The Guardian called the trilogy one of the most important theatrical events of the past 20 years

because it has enabled audiences to envision alternatives to what's considered the norm in Shakespeare performance.

We invited Ms. Lloyd to come in and talk with us about the production of her trilogy from conception through to production.

We call this podcast, we are governed with our mother's spirits.

Phila Deloitte is interviewed by Barbara Bogue.

Well, let's start with the idea of producing all-female Shakespeare. What made you want to do it?

Well, I was trying to trace the origin of this, and I think it goes really back to my very eccentric all-girls boarding school in the

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