For this interpretation, the scenario and setup are twisted to depict a world of spiritual beings. Shakespeare spirit reappears lost in the world of the dead in Africa. Little does he know that he is reawakening three spirits of dead leaders of Africa, trapped in the same realm: a realm of the dead somewhere in the thick rainforests of Africa. Imagine three dead leaders of Africa: the dictator Kamuzu Banda of Malawi, the dictator Amin of Uganda and South African democratic hero Nelson Mandela. Imagine them encountering the long-dead Shakespeare. Imagine them excited upon meeting their colonial school poetic idol, and being requested to perform a text by him. Seeing that they were politicians in real life, the dead Shakespeare offers those excerpts from his play Julius Caesar. What emerges is a fantasized narrative reflecting the deceased leaders' own historic experiences as they attempt to depict Shakespeare’s Roman tragic characters. Three actors portray the three dead historical leaders of Africa while taking roles interchangeably from the Shakespeare characters such as Brutus, Cassius and Antony. The director of the play takes the role of Shakespeare directing three dead African leaders on how to play rhetoric in the best way in the style of his text. Three layers together make the form: the layer of director leading three actors in theatre space, that of Shakespeare guiding three dead African leaders how to act, and the layer of role playing (the characters in the original Caesar play).