By: Darryl Reilly
“Let fools do good, and fair men call for grace, Aaron will have his soul black like his face” snarls that dastardly Moor in this thrilling, chilling, and black comedy-style treatment of William Shakespeare’s Titus Andronicus.
Titus’ behanding occurs behind a column with blood gushing out in view. The decapitated heads of his two sons are delivered to him in zip-lock clear plastic bags. The horrific rape and grisly mutilation of his daughter takes place offstage with stylized after effects. A queen’s wicked sons wearing fetish gear are strung upside down to have their throats slit by an electric carving knife before they are baked into meat pies to be surreptitiously fed to their mother. In the midst of this ultra-violence are plenty of routine stabbings. Shocks and laughter are intertwined.
Written in the late 1500’s when Shakespeare was in his 20’s Titus Andronicus is his first tragedy and is an invention rather than being based on history. Gory revenge plays were big hits at the time. By the Victorian era the play was rarely performed due to its unsettling incidents. Laurence Olivier and Viven Leigh starred in Peter Brooks’ celebrated 1955 London production which toured internationally. In 1999 Julie Taymor directed a screen adaptation starring Anthony Hopkins and Jessica Lange.
General Titus Andronicus conquers the Goths and brings their defeated Queen Tamora and her three sons to ancient Rome. Titus has lost three sons in battle and has her eldest murdered in retribution. Titus is offered the opportunity to be emperor but magnanimously declines in favor of Saturninus, the son of the deceased previous emperor. He accepts and wants to marry Titus’ daughter Lavinia, but she is pledged to his brother Bassianus. The furious Saturninus spitefully marries the tempestuous Tamora who continues her affair with the equally malevolent Aaron. She enacts vengeance on Titus for killing her son, and he later outrageously outdoes her.
New York stage titan Patrick Page blazes as Titus. Whitehaired, goateed, weathered, and with his signature rumbling voice, the limber Mr. Page mines all the pathos, comedy, and rage possible in this colossal role. Page is an impish Sweeney Todd-like delight during the notorious banquet scene. He also artfully adapted the play for this production.
With her deliciously throaty vocal delivery, flowing tresses, and commanding stage presence, the smoldering Francesca Faridany is evil personified as Queen Tamora. His piercing eyes, grand physicality, and sensual charm, all inform McKinley Belcher III’s unnerving characterization of the conniving Aaron. His and Ms. Faridany’s romantic rapport is scorching.
Exhibiting euphoric comic timing and temperamental snippiness, the beaming Matthew Amendt is marvelously in overdrive as the wily Emperor Saturninus. Stately Enid Graham offers a tender portrait of moral rectitude as Titus’ noble Tribune sister Marcia. Willowy and luminous Olivia Reis’ poignant portrayal of the tragic Lavinia is shattering. Charming Howard W. Overshown is stalwart as her husband Bassianus.
Whether dressed in black leather or black track suits, Jesse Aaronson and Adam Langdon are hilariously endearing as Tamora’s wicked sons. The dynamic ensemble in various, sometimes double roles is completed by Blair Baker, Amy Jo Jackson, Anthony Michael Lopez, Anthony Michael Martinez, and Zack Lopez Roa.
Director Jesse Berge’s exuberant physical staging has the cast making entrances and exits throughout the auditorium, performing in the balcony, and strategically placed on the playing area, conjuring spectacle. Rick Sordelet’s fight direction is fierce, and his intimacy direction conveys passionate lust.
From just a few columns and key furnishings on the empty space, Beowulf Boritt gray-accented scenic design achieves an epic dimension. Lighting designer Jiyoun Chang accentuates that quality with stark brightness, moody dimness, and punchy blackouts. Composer Adam Wernick’s jolting original score and clanging battle effects are rendered by his and Shannon Slaton’s supreme sound design. Vintage-style military wear and exotic regal outfits are among the components of Emily Rebholz’s glorious costume design. Wig and makeup designer Tommy Kurzman’s vivid contributions further visualize the characters.
This incarnation of Titus Andronicus is presented by the Red Bull Theater which was founded in 2003 and is dedicated to “adventurous theatergoers.” Such patrons should be enthralled by this ferocious production.
Titus Andronicus (through May 3, 2026)
Red Bull Theater
The Pershing Square Signature Center’s Alice Griffin Jewel Box Theatre, 480 West 42nd Street, in Manhattan
For tickets, visit www.redbulltheater.com
Running time: two hours and 15 minutes including one intermission