Royal Shakespeare Theatre Stratford-Upon-Avon – until 7th June 2025
Reviewed by Amarjeet Singh
5****
A play so full of death yet in this production, it pulsates with life, director Max Webster’s rendition of Titus Andronicus is a bloody belter. The earliest of Shakespeare’s tragedies and of his Roman plays, Titus Andronicus’ protagonist’s ill-considered decisions, though perceived as honourable, lead to his ultimate downfall in quite the spectacular fashion.
Traditionally there is a tendency to go all out on the gore and shock factor, however, this offering plays more with the mind. Murders occur from a distance, allowing us to fill in the gaps. Mutilations take place before your eyes, but not quite, which makes for a more terrifying experience. The slow creep and undulation of peripheral characters between and during speeches brought true suspense and terror that no brash and bold conflict could induce. Don’t get me wrong, there is blood aplenty, but it’s appropriately used for effect and to enhance the story.
Joanna Scorcher’s set and costume design is minimalist monochrome, reminiscent of a totalitarian state. Black and grey hues adorn a white stage with bare benches, a robotic remote-controlled noose and hooks are summoned from above. Splashes of blue mark the Goths from the Romans, the motif effective as you notice the shifts in power and control. Plastic sheeting, bright red nozzles and hoses are in view, with the anticipation of a drenching along with plastic guards around the stage, but all is not what it seems. Lee Curran’s lighting enhances every moment along with eerie, unnatural movement direction by Jade Hackett and an absorbing soundscape by Tingying Dong. They add a nuanced depth to the piece, with the otherworldly, spotlit howl opening act 2 inducing shivers. Fight and intimacy director Rachel Bown-Williams and Ruth Cooper Brown bring a real authenticity to some of the more difficult scenes.
The performances as a whole are brilliant. Simon Russell Beale takes an understated approach with his Titus, bringing warmth and humility, but ultimately becomes increasingly haunted by his unwise choices. Letty Thomas’ Lavinia is at times too painful to watch, with her severed limbs, having experienced the trauma of rape and ultimately released from her shame. The poignancy of her performance is perfect. Joshua James’ Saturninus, fluctuates between frustrated teen to stoney statesman, his comedic timing is brilliant and offers light relief. Wendy Kweh as Tamora balances the grief and fury of a mother bereft beautifully. Jeremy Ang Jones and Marlowe Chan-Reeves as her sons Demetrius and Chiron are sinister. Akin to prowling hyenas, almost dance like in their portrayal, with elements of parkour, the feeling of danger and destruction are always present. Natey Jones is a powerful and mesmerising Aaron. He explores every facet of this complex character to its fullest, relentless in his emotional mining.
This is a potent and powerful production of Titus Andronicus, which is relentless in drawing your every sense into the story making for a tremendous piece of theatre
