Which of Shakespeare’s plays is most fitting for Halloween? Obviously, a good case can be made for Macbeth, with its witches and ghosts and apparitions. But for sheer, over-the-top horror, Titus Andronicus is unsurpassed. There are decapitations, limbs being chopped off, rape, and two men baked in a pie and served to their own mother. Most contemporary horror films pale in comparison. And it was Titus Andronicus that Shakespeare By The Sea decided to present last night in an online production for our Halloween entertainment. It is also a fitting choice for 2020, a year that has played like an unrelenting horror show. Like everything else that is fun, Shakespeare By The Sea’s summer program was canceled this year because of the pandemic. And for this production, the company took all the recommended precautions, conducting the rehearsals through a video conferencing service, and setting up the stage outside for the run-throughs and performance. The performance was done just as it would have been presented in the parks had they been able to go ahead with the season, with a brief introduction, and microphones at the edge of the stage and so on, except with this filmed version we get multiple angles and close-ups.
The production uses the sound effect of a crowd in a few scenes, as in the opening scene when Saturninus (Cylan Brown) and Bassianus (Christopher Nelson) speak to their followers. In the play’s first lines, Saturninus urges his followers to arm themselves and plead his case for succeeding as emperor with those arms. Those lines, at least in my lifetime, have never been more frightening or more apt. On the verge of an important national election, supporters of the current president have armed themselves and are doing just as Saturninus urges here. Scary times, indeed. When Tamora (Tara Donovan) pleads for her son’s life, her words are heartfelt and moving, and as her son is led off stage, she cries out. It’s important for this moment to be strong, because of course all her other actions follow from it. Titus Andronicus (Patrick Vest) smiles at Saturninus just before asking the people to throw their support to him. It is an honest and friendly look, a trusting look, which is wonderful. And it is then that Saturninus’ disposition seems to change. This is such a great moment, for we see how Titus believes that he and Saturninus are allies, and that he is doing the right and proper thing by supporting Saturninus. And we know how wrong he is. Of course, that might be helped by the cutting of the line where Saturninus asks his followers to draw their swords, for with that line present, it seems more that Titus is trying to calm the situation.
The action regarding Lavinia (Melissa Booey) and Bassianus moves quickly, and in this production it feels like Saturninus uses that action to turn against Titus and choose Tamora for his queen. That moment has always been a bit problematic for me, the way it often feels so abrupt, but it works really well here and makes sense, for Saturninus has been established as having a fiery temper, and seemed ready, even eager, to turn against Titus from the beginning, and now is using this as justification of sorts. It is also telling that even after he has chosen Tamora, Saturninus is still angry regarding Bassianus and Lavinia. It shows that he is a rather small and petty man, again reminding us of a certain person currently occupying the White House. Another interesting element of these scenes is that Aaron (Rogelio Douglas III) is a silent presence, watching the action and making us wonder what function he already serves with Tamora. When the others leave, he then steps forward to deliver his first speech, which opens the second act. Chiron (Ryan Knight) and Demetrius (Aaron McGee) are shown to be incredibly weak of character, deserving of derision. When Chiron says “my sword,” he pulls out a dagger, and then refers to it on “little skill I have,” a humorous moment playing on the shortness of his sword. There is more humor here as Chiron professes his love for Lavinia. It is interesting how Chiron and Demetrius begin by fighting with each other over their supposed affection for Lavinia, and end up by being ready to join together to take her by force, at the suggestion of Aaron. These two men are so weak of character, easily led and misled.
Tamora doesn’t seem as wicked in this production. She has a sort of sweetness, particularly in her affection for, or attraction to, Aaron. There is something perhaps too loveable about her countenance. I like how when Bassianus and Lavinia see Tamora and Aaron together, they know exactly what is going on. They at first react to them with a sort of humor, seeing Tamora’s lies to her sons as clearly ludicrous. But soon we see their looks change as they realize the danger they might be in as the sons take their mother’s words seriously. The humor and confidence quickly drain from their faces. This is another great moment. Lavinia is particularly excellent here. How can Tamora not be moved by her words, by her plea? And when she is led off stage, her screams are powerful, and not brief. When Saturninus hears of Bassianus’ death, he does seem genuinely upset, a nice human moment for him. And when Titus kneels to plead on his sons’ behalf, we see a pleased look on Tamora’s face, which is perfect. When Marcus (Jonathan Fisher) bids Lavinia to go to her father, she moves in the other direction at first, not wanting her father to see her like this, not wanting to burden him, a nice touch. And when Titus kneels down, begging on behalf of the lives of his sons, we can’t help but wonder how things would have been if he’d accepted the people’s wish that he be crowned the new emperor.
Titus’ reaction to the news that Lucius is banished is fantastic. And when Lavinia enters, we can see in Titus’ expression the realization that all his valiant acts have been in vain, that everything he’s done has been for naught. Titus is absolutely fantastic in this scene. And the image of his broken family is effective. “Are not my sorrows deep, having no bottom?” Titus wails. And when Marcus says “Now is a time to storm,” we can’t help but agree. We want Titus to get his revenge immediately, but we have to wait a bit. Titus’ lines to Lavinia about taking his severed hand in her teeth are cut, perhaps because they are sometimes met with laughter. However, the image of Titus and Marcus each carrying a severed head, while Lavinia, her own hands missing, carries her father’s hand in her teeth is a delightfully horrific one, and it is a shame to lose it.
Chiron reacts with disgust and horror upon seeing Aaron’s baby. And Aaron at last displays some compassion for a fellow human being when he protects his son. It is interesting that Chiron and Demetrius are shocked and horrified when Aaron stabs the nurse. After all, they’ve committed their own horrific crimes. But they are as foolish children, weak and uncertain of purpose. And so we understand their reaction. Aaron takes great joy in the telling of his own foul deeds. The action of the final scene moves rapidly, as it always does. What I love most is that Titus pauses before stabbing Lavinia. And Lavinia stands there, looking down, as if she knows what will happen and accepts it. It’s a powerful and disturbing moment, and an image that will stay with me.
This production of Titus Andronicus was directed by Stephanie Coltrin. There is one intermission, coming at the end of Act III Scene i. The performance is available online. Click here to watch it.
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