Reviewed by Judd Hollander
One of the bloodiest works in the Shakespeare canon, Titus Andronicus offers a stark judgment about what happens when one follows custom too closely and where, but for a little mercy, things might have turned out quite differently.
For the past ten years, the Roman Empire has been locked in a war with the Goths. Rome finally emerging victorious thanks in no small part to the battlefield efforts of General Titus Andronicus (Patrick Page). Titus helped bring an end to the war with the capture of Tamora (Francesca Faridany), the Goth Queen, along with her family and her Moor lover, Aaron (McKinley Belcher IIII). Despite his great success, the war has cost Titus dearly. Three of his six sons perished in battle, while some of those who survived are left with physical scars they will carry the rest of their days.
Returning home in triumph with his prisoners in tow, Titus faces a new challenge. The Emperor of Rome has died and his sons Saturnus (Matthew Amendt) and Bassianus (Howard W. Overshown) each seek the crown. Because of the respect he commands, Titus agrees to decide who should be Rome’s new ruler, a role he himself turned down, citing his advanced years. Titus selects Saturnus, a choice based not so much on ability, but on custom - Saturnus being the eldest son. Saturnus also has designs on Titus’ daughter Lavinia (Oliva Reis), who rebuffs his advantages, as she and Bassianus are deeply in love and have announced their own plans to marry. In response, Saturnus decides to take the captive Tamora as his queen. Tamora quickly accepts, not only because doing so would mean freedom for herself and her family, but also so she can revenge herself against Titus who, in keeping with a standard practice, killed one of her sons before her eyes, despite her pleas to spare his life.
Tamora quickly sets her plan in motion, crafting a scenario where her sons Demetrius (Adam Langdon) and Chiron (Jesse Aaronson) murder Bassianus and then rape and mutilate Lavinia. They also conspire to frame two of Titus’ sons for these crimes, who are quickly sentenced to death despite Titus’ pleas, and a very personal sacrifice in an effort to save their lives. Stunned by his sudden reversal of fortune and emotionally battered by tragedy, Titus seems to descend into madness as Tamora and her family prepare to deliver the final killing blows against him. However, Titus’ manner may be in fact somewhat exaggerated as he hatches his own scheme of grisly vengeance, no matter how terrible the price he may be forced to pay in the end.
As Shakespeare quite graphically points out, the idea of revenge, even if it is under the auspicious of moral justice, can often end in disaster. Titus in particular becomes so set in his course any personal misgivings he might have to the contrary won’t allow him to deviate from his mission. Filled with numerous scenes that are quite painful to watch, especially what happens to Lydia, perhaps the only true innocent in the story, the play sends a clear message when it comes to the ultimate price of such actions. No matter how in some cases the audience may actually cheer when some of those involved receive their just deserts – in at least one case, quite literally.
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(L-R) Patrick Page, Zack Lopez Roa, Anthony Michael Martinez, Howard W. Overshown, Enid Graham. (Photo: Carol Rosegg)
Page is positively brilliant in the title role, commanding the stage and holding the audience’s attention whenever he appears. Be he undertaking a plan of revenge, pleading helplessly for the lives of those he loves or crying out in anguish in moments of literal pain. He also perfectly embodies the air of a war-weary soldier feeing the weight of years pressing down on him.
The rest of the cast acquit themselves admirably, though many of their roles do not come off as fully formed as Titus. Faridany works well as the scheming and vengeance seeking Tamora, who will use anyone, including members of her own family to achieve her ends. Amendt is fine the foppish Saturninus a man who, for all his outward bravado, is more than content to let his new queen make all the decisions. Aaronson and Langdon are effective as the somewhat smarmy Chiron and Demetrius. Belcher is good as the always-seeing and observing Aaron, though the character often seems to exist mainly for the purpose of giving expository speeches and showing how even the basest among us is not above pleading for mercy when it involves someone he cares about. Reis strikes a poignant note as the tragic Lavinia, who is determined that the truth of what happened to her finally be known. Enid Graham is quietly effective Marcia, the Tribune of the Roman people, who is also Titus’ sister.
Jesse Bernger’s direction is good keeping the action moving as the play moves from one blood-soaked scheme to another. A particularly nice touch was to have Aaronson and Langdon play their roles in such a deliberately annoying way that no one has any sympathy for them when they finally meet their own ends. Also nicely striking a macabre note is costume designer Emily Rebholz, who provides a particularly fitting outfit for Titus as he holds court in a final confrontation.
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Not for the faint of heart and certainly not the play to introduce anyone to the world of Shakespeare, Titus Andronicus offers a powerful warning about what happens when one too closely adheres to tradition and who then must ultimately reap everything they have sewn.
Starring Patrick Page (Titus Andronicus).
With Jesse Aaronson (Chiron), Matthew Amendt (Saturninus), Blair Baker (Alarbus), McKinley Belcher III (Aaron), Francesca Faridany (Tamora), Enid Graham (Marcia Andronicus), Amy Jo Jackson (Nurse), Adam Langdon (Demetrius), Anthony Michael Lopez (Lucius), Anthony Michael Martinez (Valentine), Howard W. Overshown (Bassianus), Olivia Reis (Lavinia), Zack Lopez Roa (Caius)
Scenic Design: Beowulf Boritt
Costume Design: Emily Rebholz
Lighting Design: Jiyoun Chang
Composer & Sound Design: Adam Wernick
Sound Design: Shannon Slaton
Prop Supervisor: Anya Kutner
Wig & Makeup Design: Tommy Kurzman
Fight Director & Intimacy Coordinator: Rick Sordelet
Voice & Speech Coach: Dawn-Elin Fraser
Dramaturg: Ayanna Thompson
Production Stage Manager: Jenn McNeil
Production Manager: Gary Levinson
General Manager: Leah Michalos
Casting Director: Alexandre Bleau
Directed by Jess Berger
Titus Andronicus
Presented by Red Bull Theater
Pershing Square Signature Center
Alice Griffin Jewel Box Theatre
480 West 42nd Street, New York City
Tickets: www.redbulltheater.com
Running time: 2 hours, 15 minutes, one intermission
Closes: May 3, 2026