Titus Andronicus by F. M. Kirby Shakespeare Theatre

Abstract

Reviewed by: Titus Andronicusby F. M. Kirby Shakespeare Theatre Barbara Ann Lukacs Titus AndronicusPresented by the Shakespeare Theatre of New Jersey at the F. M. Kirby Shakespeare Theatre, Drew University, Madison, NJ. 07 18– 08 5, 2018. Directed by Brian B. Crowe. Scenic design by Dick Block. Costumes by Yao Chen. Lighting by Andrew Hungerford. Sound design by Karin Graybash. Fight director Rick Sordelet. With Oliver Archibald (Bassianus), Clark Scott Carmichael (Lucius), Brent Comer (Alarbus), Bruce Cromer (Titus), Robert Cuccioli (Marcus), Benjamin Eakeley (Saturninus), Torsten Johnson (Demetrius), Emery Lawrence (Mutius), Quentin McCuiston (Chiron), Vanessa Morosco (Tamora), Jackson Knight Pierce (Martius), Fiona Robberson (Lavinia), Braden Spear (Quintus), Chris White (Aaron), and others. Director Brian Crowe's 2018 production of Titus Andronicusat the Shakespeare Theatre of New Jersey presented this bloody and violent play as an elegant and dignified study of family and revenge. In the program, Crowe wrote that the time was right to do this play because of the current political and societal climate in the USA. The culture of violence in life and in the media facilitated acceptance of Shakespeare's early revenge tragedy. Beyond a visceral level, Crowe saw the text in terms of a particular type of family, one rooted in vengeance. Titus and Tamora demonstrated the extremes to which one can go to avenge family members. I found Crowe's approach to this often-neglected play interesting because it went beyond the base thrill of seeing two families engaged in mutual acts of destruction, suggesting instead that this play was a picture of the human condition, the never-ending cycle of vengeance for wrongs committed against oneself or one's family. To establish a bleak tone for this production, the set was in shades of black and gray, save for the red of blood. In an abstract and symbolic way, it depicted the ruins of war. Two giant swords hung stage right. At stage left was an enormous ancient helmet tilted to its left and partially buried in the floor so that only part of the left eye socket was visible. A hidden staircase enabled the actors to ascend to the top of the helmet, which served as an upper playing area. For the hunting scene, a green plastic tarp was unrolled to cover the helmet so that it functioned as a hill with [End Page 734]the eye sockets being cave openings. Sharp spikes projected from timbers that framed the stage. I found the rear wall intriguing as it consisted of panels of dark green plastic sheeting. With each act of violence, a portion of the sheeting was ripped away, exposing a craggy red surface behind it. The moment Titus dispatched Tamora, the entire sheeting came down to expose the red wall, which symbolized that all hell had broken loose. For acts of consecration, as when the bodies of Titus's sons were buried, white paper slips were strewn by the actors. For acts of celebration, silver paper slips showered down or were tossed into the air. Crowe wisely dispensed with the gushing forth of "blood" by substituting a release of copious amounts of red paper slips whenever a bloodletting took place. To me, the brutality of the act remained shockingly evident, without the need for an accompanying visual effect of spurting liquid. Crowe added silent street sweepers who were present on stage and in the aisles both before and throughout the performance. These entities moved ever so wearily, as they toiled to sweep up the large amount of paper slips that were present on stage as the audience entered. When I questioned Crowe about them, he said that they represented the masses who had to clean up after each repetition in an eternal cycle of violence and retribution, which included the one about to unfold. Although the time period was ancient Rome, the costuming was anachronistic. Initially, Titus and his soldiers were in gray military frock coats with black leather belts and swords. Later, Titus was in a white shirt and gray pants. Marcus and his fellow tribunes wore off-white contemporary suits with maroon sashes. In later scenes, Marcus shifted to gray pants, gray cape, and a brown shirt. The...