Titus Andronicus Is A Halloween Ride of Revenge and Horror

Review by Eve Speer Garcia

New World Shakespeare Company presents Titus Andronicus just in time for Halloween! The show is directed by Blayne Wiley and Elise C. Hanson. Most people are unfamiliar with this particular Shakespearean tragedy. The boys in the Shakespeare Abridged Comedy refer to it simply by staging a brief cooking show. The cooking show is the perfect horrific climax to a list of horrors that only the Romans could inflict on one another. Well, Romans and Goths. This is Shakespeare dirty, violent, and crazy with a capital K.

The show takes place in the comfortable Sorenson Unity Center Black Box Theater, located at 1383 South 900 West. The space is open with comfortable seats on risers for the audience. It is small and intimate, creating a lovely viewing experience for the audience.

The story is Revenge Gone Wild. It’s revenge on this epic scale. I kill your family member, you kill mine, back and forth. Prepare yourself for a ride.

titus 1

photo credit Beth Bruner


There are four factions. First, you have the clad in black Romans. These are the soldiers who follow the rules. They embrace the power of Rome’s might and they march forward, without mercy.





The second faction are the Goths. The Goths are wild and untame in contrast to the Romans. They are colorful and crazy. At the beginning, we see the Goths chained and in submission to the might and the rite/right of the Romans.

The third faction is Saturninus’ Rome. He is the eldest son of the emperor–but not the people’s favorite for Rome. The people prefer Titus! Titus is not a ruler though. He is a soldier. He turns down the people’s request, endorses the ambitious Saturninus (played incredibly well by Christian Maestas) and hands his daughter Lavinia (Allison Dayne) off to the new emperor, as a good soldier should.

Lavinia wants nothing to do with Saturninus and leaves him for another man. The other man is Saturninus’ brother, Bassianus (Ava Kostia). The people are not happy with Titus, and they support Lavinia and Bassianus and help her escape. Chaos ensues.

titus 4

photo credit Beth Bruner

Tamora, Queen of the Goths, played with aplomb by Elise C. Hanson, jumps on this opportunity to salvage the new emperor’s pride and seduces him into marrying her. The two seem a perfect pair and she readies herself for her revenge on Titus.

titus 2

photo credit Beth Bruner

The fourth faction is the lone Moor, Aaron. Aaron is one of the most complicated characters in all of Shakespeare. Think Iago, only instead of fooling Othello–he’s fooling the audience. He takes the audience on a trip. While Tamora is seducing Saturninus, Aaron is seducing you. While Tamora is betraying Saturninus, Aaron is betraying you. Or is he? That’s why it’s complicated! E. Cooper Jr.’s Aaron was okay. It just didn’t quite wrap itself up in the complexity of this character. Aaron is subtle. Cooper’s performance was impassioned, when I would have preferred more cerebral choices. I am excited to see his choices grow as the run progresses though. I think he was as surprised by Aaron’s choices as I was–and so he missed the calculation.

The words of the play allude to Aaron and Tamora’s affair, and the company chose to stage their lovemaking right smack in the middle of the play. It didn’t work for me. I tried to make it work, but I was thinking more about the choice, and less about the story. Maybe it was the timing. I just needed the action to continue and it seemed to stall the action.

Each bit of action seemed to rise into a long pause where music played, set pieces were moved around, and actors came back in with different costumes. The technical changes helped me to follow the story, but it kept me from falling into the rabbit hole of action. I was pulled out of the story and the action in a kind of self aware Brechtian way.

Dustin Kennedy’s set was impressively simple. Wiley’s costumes were impressively simple and told the story. David Bruner’s lighting needed some tweaks last night, but it was a preview night. I found some of the scenes were lit very low, lending a nice mystery, but it was difficult to see faces some of the time. The severed heads were absolutely genius, but some of the other props looked like toys. I wasn’t sure if that was a choice or not.

titus 3

photo credit Beth Bruner

Titus Andronicus, played by Jon Turner, was too intellectual for me. Turner played Andronicus as a statesman, rather than a soldier. It made the choices seem foolhardy instead of passionately naive. Titus is a man who is great on the battlefield and horrible at home. He is a distant legend, impressive in stories that come back to the city from the war. At home in Rome, his strategies and decisions are rash, impolitical, and they cost him his pride and his family. Turner’s performance didn’t help me to understand Titus’s dilemma. And yet, the end was incredibly satisfying. Sitting at dinner with stumpy err Lavinia, while they ate was almost hysterical. Titus embraces the madness and the audience just kind of jumps along for the horror ride. Turner’s Titus at the end was worth the wait. I just wish I had seen more of the passionate soldier at the beginning. Notes of Polonius were clinging to Titus. Marcus, played with grace by Allison Froh, is a stately foil for her brother’s recklessness.

The raping pillagers Demetrius and Chiron (played by Hannah Schweinfurth and Kaltin Kirby) were spot on. Their energy and choices were chaotic and animalistic. I was intrigued every time they came on stage. Contrast the monstrous brothers with Titus’s sweet sons. The boys were uniformly good and we were relieved to cheer for someone not deranged when Lucius (Paul Chaus) returned to Rome from the Goths.

The story is complicated and messy. Shakespeare asks us to analyze what rites and rituals are most crazy. Why is it right on the battlefield, but wrong at home? Why is it wrong to rape, but okay to murder? He questions the accepted societal and political norms of Rome. Set in modern dress, I questioned why some actresses had their shirts off in an almost sexy humiliation at their death, while other men were fully clothed, facing the same judgment. Why are some victims more pitied than others? The play forces audiences to question so much about the consequences of manipulating our values based on time, place, sex, and race. And it’s a fun Halloweeny romp!

Not recommended for kids because of blood, sex, and gore.

For tickets and more information, visit http://www.newworldshakespeare.com/.


Buried Child Should Be Unearthed

By Joel Applegate

Buried Child is a production that will be talked about and remembered by theatre folk. Hilarious and dark, it features a cast in sync with each other and the material. It was a great night to be a playgoer. Earth is a metaphor and a scent. The land that sustained the family of Dodge and Halie now hides its most damaging secret.

Andrew Maizner’s Dodge is the crumpled heart of this production. His bearing – even though he sits most of the time – is immediate. Secretly drinking from a bottle stashed in the couch cushions, his caustic character counters Halie’s string of righteous bromides. “Nothing gets me excited,” Dodge is cantankerous, but smart, thanks to Sam Shepard’s wiser-than-it-seems prose. Maize’s whiskey-shout barks and coughs, sounding perfectly real. “Don’t go outside. Everything you need is here.” Dodge’s world is the couch, safe from the secret in the cornfield.

Barb Gandy as Dodge’s wife, Halie – first heard rather than seen – is the disembodied voice of morality. “Let her babble,” says Dodge. Her spitting out of “the Catholics” places us in a region of the Bible Belt where American “exceptionalism” clings to the idea that true Christianity was born on American soil. But she, too, conspires to keep Dodge’s secret buried in the dirt.

Who sees reality? This family is not aware of the world around them anymore. Their sins have isolated them from the world and each other. Tilden, the youngest son (Justin Bruse) is a man-child digging in the garden. “My flesh and blood is in the back yard.” And after the rain, Tilden says, “it’s like the ground is breathing.” He tells Dodge “you gotta talk or you’ll die.” Silence is a poor substitute for secrets. Dodge bullies Tilden to stay out of the yard, but the damage has been done. Bruse as Tilden is achingly gentle. He has the character right, but I believe his vocal-craft needs a little boost – it was just a little hard to hear him in the first act.

The spare set by Michael Rideout evokes an empty house on an isolated homestead. The sound design by Michele Case Rideout is perfectly measured to the action as rain, wind, and thunder accompany distant traffic – or a train? It underscored the foreboding as another son, Bradley, and a long-absent grandson, Vince, arrive separately at the farmhouse, peeping through the dusty screens.

Vince and his girlfriend, Shelly (Aaron Kramer and Natalie Keezer), comprise the awkward couple; “chalk and cheese” according to Dodge. Does Dodge recognize his grandson or not? Does he want to? The couple from New York thinks they’ve encountered a madhouse, but soon the house infects them, and they are acting crazy themselves. Vince knows “this is not how it’s supposed to be,” but he can’t change it. Bradley, played by a powerfully focused Stein Erickson, bumps on with a prosthetic leg and shaves Dodge’s head while he sleeps.

Tilden thinks about the “face inside his face” while Shelly peels the carrots he compulsively takes from the ground. “I had a son once, but we buried him.” Tilden mimics Shelly’s work while getting a “sensation of myself” and demonstrating how he can hold a tiny baby in one hand. Keezer’s Natalie drops the party girl who came in with Vince and affectingly wonders about her “feeling that nobody lives here.” Dodge’s instinct for disaster keeps him trying to divert the conversation to his needs: “Get me a bottle!” “Who cares about bones in the ground?”

What’s normal here?

The third act continues the excellent pacing set by director Lane Richens and barrels ahead with all players on scene. This cast delivers a marvelous night of theater that mature audiences should not miss. Sam Shepard’s script is timeless – there is nothing in it that dates issues or cultures – nothing here has slipped into irrelevance. Buried Child maintains its power – a 1979 Pulitzer Prize winner of extraordinary metaphor and earthiness. Even though this tightly written play is over 35 years old, there is nothing temporal in the play. It is not dependent on a particular period of history for its universality. Buried Child is lodged in a psychological space and dislodged from time.

Buried Child has a short run with only nine performances! Better get tickets before it ends on October 25th.
Buried Child by Sam Shepard
Silver Summit Theatre Company at Sugar Space Arts Warehouse, 132 S. 800 W. (Jeremy St.), Salt Lake City.
Running time: 105 minutes – no intermission.
Oct 9th – 25th, Fridays at Saturdays at 8 pm, Sundays at 4 pm.
Box Office: $18 at the door or online
Sugar Space: 888-300-7898