Titus Andronicus, The Globe, 25 May 2014
This revival of the 2006 production replicated its key features: a fabric roof was stretched over the yard; the tiring house and stage pillars were covered in identical dark cloth. Billows of smoke generated under the stage and meant to intensify the atmosphere, quickly dissipated into the air.
Extensive use was made of the yard for scenes like Titus’ (William Houston) triumphant return to Rome with his Goth prisoners. Steel towers on wheels were deployed to create mobile stages for sequences such as the attempting hanging of Aaron (Obi Abili).
The towers were wheeled rapidly into position, careering around the yard, forcing groundlings to move out of their way, their crew occasionally dousing those below with water. At other times the framework was struck repeatedly to create a loud metallic din.
While some of this worked, the overall impression was of a production that didn’t understand the Globe space. With good acting and direction the colourful tiring house melts into the background and is unobtrusive despite its gaudy decoration. Attempts to cover it up actually draw attention to it and away from the actors to the detriment of the overall experience.
The production added a character “Bacchus, a Roman drunk” (David Shaw-Parker) who joked with the audience in modern English and who was eventually killed in a clumsy attempt to recreate the shock of Polonius’ death in Hamlet. This also jarred with the professed intention to create a dark abattoir atmosphere.
The reveal of the mutilated Lavinia (Flora Spencer-Longhurst) was played too far upstage and would have been better in a prominent position at the stage front. The moment was also slightly spoilt by some people choosing to laugh at the spectacle of Lavinia thrashing around under a net before the reveal.
Tamora (Indira Varma) at times verged towards the comedic, with a similar vibe coming from her partner in crime Aaron. This tended to counteract the darkening of mood purposed by the space redesign.
But all was not completely bleak.
The stage towers did work well as an alternative to the main stage for the threatened hanging of Aaron. The use of actors to portray hunting dogs was very nice. A net temporarily slung down into the yard to serve as the pit was an ingenious solution, but involved much herding of groundlings.
The concluding dinner scene was excellent, particularly when Tamora gestured approvingly at the pie and continuing to tuck in. She met her end with her face thrust down into the pie and stabbed. Saturninus (Matthew Needham) had his head banged down onto the same table and was also cut.
But the most pleasing moments in the production came when the actors’ skill and the text’s momentary brilliance became the focus of attention, rendering the play’s attention-seeking wrapper superfluous. This hinted that directorial design concepts were alien to the original staging and equally have no place on a recreated Elizabethan stage.
The trend for refashioning the Globe interior reached its absurd peak in the 2010 Macbeth production. Since then there has been a move away from such remodelling. This revived production took us back to a time when such alterations looked like progress.
A satisfied customer was heard to tell a companion that this production proved that “not all Shakespeare is boring”. This was indeed a loud, banging, crowd-pleasing spectacle. But most of the writer’s dedicated fans are glad he eventually moved on from being “not boring”.