By Karyn Lee Greig
William Shakespeare’s The Lamentable Tragedy of Titus Andronicus, often shortened to Titus Andronicus, was written around 1592, when he was about 28 years old. It is thought to be Shakespeare’s first tragedy and is often seen as his attempt to emulate the violent and bloody revenge plays of his contemporaries, such as Thomas Kyd’s The Spanish Tragedy (1588) , which depicts graphic murders and a scene where the protagonist bites out his own tongue. Thomas
Preston’s Cambyses (1569) is known for its onstage brutality including decapitation and dismemberment. Titus Andronicus likewise is a ‘revenge’ play, generous in its violence, but also displaying considerable resilience and tenderness. It also has comic relief. Such plays were very popular with audiences throughout the 16th century, and nothing much has changed.
Before attending this performance, my friend and I read the synopsis of this play, of which I was not familiar. The plot seemed so confusing and violent that we wondered if we wanted to see it.
However, we were pleasantly surprised by this production. To begin with, the piece is judiciously edited, reduced by about a third. The 90-minute action moves well, and the plot is clear. I appreciate that the staging is influenced by co-directors’, Kevin Hopkins and Claire Nicholls, travels to Prague, Central Europe, where they co-directed King Lear as well as this play. Central Europe has a strong auteur (director-driven) tradition of physical and experimental theatre, and this influence is clearly seen in this production.
The set design, again by Hopkins and Nicholls, is minimalist with a few set pieces that are used in multiple ways: Large mobile circles depict a range of spaces including a ‘pit’ into which victims are thrown. Three A-frame wooden ladders add levels to the space where actors can be physically elevated.
Max Hopkins’ musical compositions, based around the electric guitar, serve the production well, movingly underscoring both violent and tender sections of the play. However, I found the Samurai type costumes for the Romans, by Paulina Kostov, were too visually dissident with the Goths’ 70s ‘punk-rock-esque’ attire and the accompanying musical score. Costumes more akin to another street ‘gang’ culture, would have been more suitable for the Romans. Although, as I got more involved in the story, this became less of an issue.
The actors acquit themselves well. Josh Morrison is particularly memorable as Titus Andronicus, whose sarcastic dealings with Tamora and sons, post Lavinia’s ‘ravishment’ are a high point in Shakespearean black comedy. Joanna Halliday’s rendition of the tortured Lavinia – inside and out – is devastating. Victoria Haslam’s Tamora is very distinctive and appealing, partly because of her excellent command of the language, though her physical movements and stances were distracting. Scott Jackson as the foolishly impetuous Saturninus, and James William as the faithful Bassianus, stand apart. Rajendra Moodley succeeds as the truly evil Aaron, who has no guilt and wholeheartedly embraces ‘Hell’, which awaits him.
Both of us came out of this performance having expanded our knowledge and appreciation of Shakespeare as a voice for all time, as he speaks to the human condition so incisively. The unrelenting desire for revenge has been around since the beginning of humanity, and it certainly figures prominently in the world today – on the personal, community and international level. Forgiveness and grace, in too many quarters, are far away.
This is a good night in the theatre, with one of Shakespeare’s lesser-known plays. Don’t miss it.
Image: Steven Mitchell Wright
