Titus Andronicus

Titus Andronicus was one of William Shakespeare’s first plays, and I could see the early formation of ideas that would later develop into some of his more famous works. Titus Andronicus is not performed as often as it should be, as it is a wonderful story with rich, striking lines that only Shakespeare could have crafted.

It was very clear that director Steve Thompson had a strong vision, which is vital when telling a Shakespearean story so the audience can follow the plot and understand the dialogue. The diction had clearly been worked on; all the actors, regardless of role size, were articulate and precise in their delivery.

I cannot mention every individual performance in this excellent production, but here are some particularly memorable ones.

Jim Markey, in the title role of Titus Andronicus, commanded the stage whenever he appeared. His presence was powerful, his diction clear, and his reaction to what happened to Lavinia was genuinely heartbreaking.

Paul Boichat portrayed Saturninus, the Emperor of Rome. This was an incredible performance. His characterisation—and the shift in personality once the character had taken drugs—added to the unsettling instability of his mindset. Congratulations, Paul.

Lavinia, the youngest daughter of Titus, was played by Hannah Muxlow. Her screams were harrowing, and you could truly feel her pain. Conveying so much emotion with limited movement, relying mostly on screams and moans, was deeply impressive.

Emily Fairman played Tamora, Queen of the Goths, and I thoroughly enjoyed her performance. Tamora’s determination for revenge grew stronger as the play progressed. Her sons, Demetrius (James Copeman) and Chiron (Oscar Payne), were suitably vile. Both James and Oscar gave strong performances, though at times they could have been a little more menacing.

Dyan Huber (Aaron) really showcased the beauty of Shakespeare’s language. The way he delivered Aaron’s lines had a poetic quality, and the lyricism came through wonderfully.

The modern, minimal staging was not only clever but encouraged the audience to listen closely and reflect on the beautifully crafted dialogue. The graffitied wall was visually striking, and I understood the need for the sheet—especially when blood was sprayed—though it did obscure the scene where Bassianus’s body was placed in the hole. Having the audience surrounding the stage made the production more intimate, and the performances even more impressive, as the actors were working in such close proximity to the viewers.

The choreography of the fight scenes, by Chris Janes, was very well executed, and the concealment of the blood effects was handled skilfully.

Thank you to the front-of-house staff for being welcoming and attentive, and congratulations to everyone involved in creating such a well-thought-out, well-acted piece of theatre.

© NODA CIO. All rights reserved.