This article explores the way gender resonates in Shakespeare's "Julius Caesar" through an active study of live performance. Combining pedagogy with performance as an interpretive methodology, this research focuses upon using my unique classroom situation, teaching ultra-Orthodox Jewish adolescent females, as a platform for analysis. Performing "Julius Caesar" in my classroom represents an inversion of early modern all-male performance. The question explored in this study is: what does this reversal illuminate about constructions of gender among ultra-Orthodox adolescents?