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Titus Andronicus
By William Shakespeare
Directed by Charles Newell
At Court Theatre
5535 S. Ellis
Chicago, IL
Call 773-753-4472, tickets $32 - $54
Wednesdays & Thursdays at 7:30 pm
Fridays at 8 pm
Saturdays at 3 & 8 pm
Sundays at 2:30 & 7:30 pm
Running time is 2 hours with no intermission
Through February 10, 2008
Risky and bold interpretation of bloody Shakespeare tragedy has its moments
Court Theatre’s artistic director Charles Newell made a perplexing mounting of Titus Andronicus. This valid interpretation, placing The Bard’s early tragedy as a play-within-a-play read by a group of younger players on a contemporary estate, had mixed results. The uneven tone fond the first hour (of a two hour one act) playing out as a humorous, playful romp with most of the actors with book-in-hand. Rolling out on Leigh Breslau’s two tier metal set (lighting by Brian H. Scott), the cast moved about so often and so briskly that their manic movement became a distraction. The show opens with a long pop/rock tune (by Peter Gabriel?) with marching movements depicting a military ceremony.
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The mixture of machismo with weird takes such as Hollis Resnik’s Tamora and Elizabeth Ledo’s Lavino together with Kevin Gudahl’s Marcus and Timothy Edward Kane’s Titus Andronicus traditional approach unfolded unevenly. The shifting tone change from a funny, almost campy work to a bloody, emotionally wrenching tale became bewildering and hard to follow.
This riveting tale of jealousy and revenge by Roman aristocracy finds Titus Andronicus’ victorious homecoming with a war trophy--Tamora, queen of the Goths. The play unleashes a cycle of envy and vengeance. Literally, heads roll as hands are cut off in this bloody tale. What saved this contradictory presentation for me was the steady and emotionally truthful work from Timothy Edward Kane in the title role. Kevin Gudahl, as Marcus and Phillip James Brannon as Aaron offered effective supporting performances.
The second hour of Titus reached the depths of horror that mirrors today’s Middle Eastern cycle of vengeance. Director Charles Newell’s decision to play for humor reminded me of a frat party. The transition from the lighthearted tone to serious was abrupt as the piece turned from camp to emotionally wrenching almost instantly. I did find enough riveting action and terrific performances to save the show for me.
Somewhat Recommended
Tom Williams
Tom99@chicagocritic.com for comments
Talk Theatre in Chicago podcast
Date Reviewed: January 19, 2008
Jeff Recommended
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