Written in 1593 or 1594, fittingly around the time of the death of dark playwright Christopher Marlowe, and in the same period as his biting comedy The Taming of the Shrew, William Shakespeare penned his bloodiest tragedy with the highest body count and cruelest twists, Titus Andronicus. In researching this play, I have heard it called everything from "absurdist" to "black comedy." When one sees the almost modern cruelties that are inflicted on the hapless victims, notices the subtle ironic and comedic touches by the Bard, and beholds the depth of racial tension that rumbles throughout this play, it can almost be mistaken for a contemporary work. While the themes are modern, the language is definitely that of the Swan of Avon, and even while his characters do the most heinous deeds, they speak those lovely words that make Shakespeare the best. Unfortunately, Titus Andronicus is rarely produced, probably because of a mix of difficult staging and a gaggle of reprehensible characters. Subsequently, when Wes Martin and The Shakespeare Theatre chose to replace the standard Othello with this piece, I wondered how this company would succeed. I'm here to report that they did, and that the greatest tragedy is now an offstage one: I fear very few will see the level of their success.
Titus is a Roman Gladiator. Think Russell Crowe with silver hair, several sons, and the popular-though-chaste daughter Lavinia. He's beaten down the Goths and returns to a Rome that wants him to be the next Caesar. He instead hands the crown and his daughter to the dastardly Saturninus, who loses Lavinia to her true love, his brother Bassianus. His consolation prize is the lithe and evil queen of the Goths, Tamora. Tamora exacts revenge on Titus' family for the loss of her youngest through her lover, the Moor Aaron. Together with her remaining sons, this seamy group plots death, rape, dismemberment, and other nastiness, until a despondent Titus comes up with the ultimate in revenge tactics that leaves a floor-full (and plate's-full) of corpses.
Director Martin has brought us up to the action. He has placed the audience onstage, right in the face of all of this villainy. The swords swing and clang rather close, and the blood that is spilled is practically in our laps, making the evening all the more dramatic. He has also not skimped on the emotional level. These are Romans, after all, not afraid of showing their rage, lust, and pain. Several great performances conjoin with the crisp direction and emotional heights, making this the best piece I have seen from this company to date.
Susan Morrell. With what her character has to go through, most actresses might be tentative. Not Ms. Morrell, as she also offers the personal best performance I've seen. Her slight smugness in early scenes is replaced by a heartwrenching caterwaul and eventual flinty vengeful resolve that could draw tears from a stone. Powerful, too, is Randy Messersmith as General Titus. He ranges through all of the emotions of this turbulent tyrant, bringing humanity to his command, and comedy to his madness. As the countering baddies, Maren MacLean plays Tamora as a cold-hearted bitch, adding surprising bits of Italian film legends and modern divas to excellent effect, while A.J. Huff's Aaron is strong, unrepentant, and genuinely gleeful through the wickedest of his character. A sly turn comes from Christopher M. Williams as p-whipped Emperor-elect Saturninus, who combines a hint of Joaquin Phoenix's look with a Banana Republic Dictator's attitude.
The ensemble is solid, with a few great performances, including Todd Allen and Jason Smolesky as the detestable sons of Tamora, and Joshua DeRocher as Titus' young grandson.
The design element is nearly stolen by Ms. Morrell's inventive and downright hilarious costuming. She adds so many in-jokes and hilarious touches, from Tamora's co-opted Sophia Loren-look through Saturninus' Superman robe to the cute picnic-wear at the end of the play, I wish I could see it again just to catch them all. Richard Hardt's aqueduct-inspired set with hovering coin and drizzles of blood is a great space. Andrew Hutchinson's lighting is solid, as is John S. Jones' sound design, although another song would have been appreciated during the pre-show.
This dark production is a triumph for The Shakespeare Theatre. I only hope that more people than were there on Saturday night could share in the success.
Production Details:
Titus Andronicus by William
Shakespeare
The
Shakespeare Theatre
The Cactus High School Auditorium, Glendale (For a
map to location, click this
link)
(602) 272-0931
June 7th - 23rd, 2001