Titus Andronicus was Shakespeare’s first “stab” at tragedy. Unlike his soon-to-arrive Romeo and Juliet, it has no characters to fully invest in and bears many of the hallmarks of a brilliant and driven playwright who has not yet grasped the subtle art of developing a tragic hero. The excitement is derived from the adrenaline of brutality, a device not apparent in the rest of his Folio. In fact scholars now think that Act 1 (maybe more) was written contemporaneously with George Peele.
The title character is a brave General in the Roman Army recently returned victorious over the Goths. In front of his captives including the Goth’s Queen Tamora and her paramour, the Moor Aaron, he orders the Queen’s eldest son to be butchered as a religious sacrifice to honor those lost in battle. This act of cruelty immediately earns the military leader two calculating enemies and sets off a cycle of chaotic and bloody revenge.
I have recently taken up needle felting. It’s wonderfully cathartic to stab something beautiful into being. I imagine Red Bull Theater’s Artistic Director Jesse Berger must have felt a similar tug towards reshaping Titus Andronicus after absorbing current events. As director, he has used the flatness of the characters to craft an experience akin to a live video game illustrating the purposeless of vengeance and violence.
The period has been updated to a time of business attire, smooth jazz and neon chandeliers. The escalating blood lust is reflected in all the creative elements from the bright red accessories of Emily Rebholz’s costumes to the torture instrument design of the bows by Anya Kutner. Sounds orchestrated by Adam Wernick that could be wind or whispers whisk around the pillar-trees by award winning set designer Beowulf Boritt. These solid white elements are given eery tone with lighting by Jiyoun Chang.
Literally frothing at the mouth as Titus Andronicus is the Shakespeare-fluent and magnetically edgy Patrick Page. But this has always been an ensemble work and Berger’s entire cast deserves a chef’s kiss for their commitment to his giddy vision. Many moments are positively hilarious, a word rarely applied to this play. When Matthew Amendt’s Saturninus accepts the Emperor’s crown with a goody-goody-gumdrops of delight you know this is not your great-great-great-great-grandfather’s production. Likewise the purring of Francesca Faridany’s Tamora who’s slide into death is perfection. Also of note are the smirking Jesse Aaronson and Adam Langdon who skin-crawlingly out “Bro” each other as Tamora’s sadistic sons Chiron and Demetrius. McKinley Belcher III portrays Aaron in a more classic style as befits his more traditional path to villainy. Many actors play multiple parts. A character map and “about” pages are provided to help you keep track of the relationships along with 430 year old spoilers and trigger warnings. A more complete content advisory is posted on the Red Bull Theater website.
Popular in its day, Titus Andronicus still appeals today in the lurid vein of tabloids and clips on Musk’s X. Berger’s interpretation smartly puts what could be melodrama through Martin McDonagh’s black comedy grinder to serve up something rip roaringly entertaining. Performances continue through April 19 at The Pershing Square Signature Center’s Alice Griffin Jewel Box Theatre (480 West 42nd Street). Running time is a little over 2 hours including a 15 minute intermission. There is more legroom though less rake at the entry aisle F. Aisles are used for entrances, so there are multiple reasons for wanting to keep your arms and legs to yourself. Tickets start at a welcome $49. Visit https://www.redbulltheater.com/titus-andronicus-off-broadway to make a purchase or to get more information.
The Unforgettable Line 