Blood Flows on Capitol Hill
Despite its early success when it was initially presented to Elizabethan audiences in 1588, Shakespeare’s first tragedy, which may have been co-written with George Peele, was soon forgotten and shunned due to its overwhelming graphic violence. It wasn’t until the mid-twentieth century that post World War II audiences, perhaps more ready to accept a world that can be oh so violent and cruel, began to return to Titus. Indeed this play has so much graphic violence and physical mayhem, I am a bit surprised that David Cronenberg hasn’t thought to film it. Director Rosa Joshi and her upstart crow collective have successfully brought a compelling production to Capitol Hill’s Lee Center for the Arts.
We know we’re in for a dark night as we enter this theater in the round to see what looks like some of Hannibal Lecter’s left over kitchen utensils placed center stage. They are efficiently cleared by a group of soldiers to set a scene that echoes our recent political conventions.
Saturninus played by Kelly Kitchens and Bassianus by Rhonda J. Soikowki, clad in dark men’s modern suits, both make their cases to the Roman counsel to be anointed the new emperor. The violence that follows in the next two hours illustrates the disaster that can occur when political problems are not wisely dealt with.
I am not convinced that the sixteen actresses present a new take on male brutality, but it is obvious that choosing to use an all female cast allows sixteen immensely talented performers to have roles in a play that normally only requires two women.
Amy Thone provides the play’s foundation as a stirring Titus. Most impressive are her mad scenes in Act Two. I’d love to see her play King Lear in some future production. Nike Imoru, a classically trained actress from London, provides a startling pride in her portrayal of the evil Moor, Aaron. Recent Western Washington graduate Brenda Joyner is spell binding as Lavinia, Titus’ unfortunate daughter. Her brutal travails are skillfully brought to life and help us care about this young woman who could easily be lost in the overwhelming violence. She is scheduled to play Laura next in the Seattle Repertory’s Glass Menagerie. Joyner is definitely a star to follow in the Seattle theater scene.
Scenic designer Carol Wolfe Clay puts a myriad of catwalks, metal poles and stairs to effective use, allowing the tragedy to move at a swift, inevitable pace. The theater in the round format has an added plus of allowing the audience to see each other’s horrified reactions to the bloody deeds before them. Joshi has her crew deliver most of the violence in a stylistic, representational mode. Keep your eye on the clever use of an empty plastic soda bottle! The final horrific scene seems to me to be inappropriately jarring in its shift of tone. The dark mood established throughout is abandoned for a lighter, almost silly bit of action.
Geoff Korf’s lighting eerily enlivens the soliloquies delivered by the Goth Queen Tamora played by Ki Gottberg. Kimberly Newton keeps the majority of the cast in black or navy blue but dresses the enemy Goths in colorful Gypsy wear.
The play ends where it began, with a final political convention presented to a much-chastened Roman crowd. It is remarkable that such skillfully produced Shakespeare is available in this convenient venue. The upstart crow collective presented a successful King John in 2006. Here’s hoping we won’t have to wait so long for their next project.
William Shakespeare’s Titus Andronicus directed by Rosa Joshi, Sets by Carol Wolfe Clay , Costumes by Kimberley Newton, Lights by Geoff Korf, Sound designer Dominic Cody Kramers, Dramaturg Liza Comtois, Fight Choreographer Robert MacDougall and Blood specialist (yes there are gallons of it) Julia Griggin. Performed at the Lee Center for the Arts, running Thursdays through Saturdays @7:30 p.m.; Sundays @4:30 p.m. through October 7th. All tickets are by donation; for reservations, contact Brown Paper Tickets. $20 suggested donation taken at the door.