Review: TITUS ANDRONICUS, New Wimbledon Studio, October 31 2015

Titus Andronicus seems to be enjoying something of a revival in recent years; tickets to the Globe's production last year were highly sought after and Hiraeth Artistic Productions' punk production was one of the 2013 Edinburgh Fringe's greatest successes. Technically, though, it's a difficult play - some things are just hard to show believably onstage, especially in a small theatre.

While it is certainly not a play for children (or the squeamish), director Ross McGregor is right to say the play has more substance than its grisly reputation might indicate. Titus was Shakespeare's first big success and not only does it pander to the then common expectation of violence, but presents such brutality that we are forced to ponder the effects of war and grief on sanity, and to consider what violence really means. In brief terms, the story tells of one of Rome's most respected military figures, Titus Andronicus, who returns from war with several Goth prisoners - notably including Tamora, who begs Titus to spare her son from the "irreligious piety" of being sacrificed to the Roman gods. Vowing vengeance on Titus, Tamora soon establishes herself in a position of power with Rome's new leader, Saturninus. What follows is a disturbingly brutal revenge tragedy.

All in all, this production is somewhat uneven. Spencer Lee Osborne (Aaron) and Elizabeth Appleby (Tamora) had some impressive moments, but direction overall seemed clumsy; the audience interaction seemed inappropriate for the genre and felt awkward within the piece. Too much was owed to Julie Taymor's 1999 film. However, there was a delightful media buzz about the opening - it was all very chillingly familiar and held a grim mirror up to the audience's faces. It's a shame Ross McGregor didn't consistently stick with this take on the play. The usage of social media towards the end would have worked far better if it had been alluded to throughout, but McGregor's vision remains an insightful and imaginative take on the play. The iconic dinner scene was preceded by eerie mask work and a fantastic movement sequence - then the stage was left in glorious chaos. Matthew Ward (Titus) was at his best here. The decision to transform Marcus to Marcia (played beautifully by Cornelia Baumann) not only helped to even out the play's gender imbalance, but was extremely effective, innovatively altering some scenes' dynamics.

This isn't the best production, but it's a particularly hard play. I would absolutely go and see other productions by Arrows and Traps. Their next production is Anna Karenina, running at the Brockley Jack Theatre 14 March to 2 April 2016.

Titus Andronicus runs at the New Wimbledon Studio until Saturday 7 November 2015. It is not suitable for young audiences.

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