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Titus Andronicus review – Shakespeare's bloodbath becomes a sadistic delight Titus Andronicus review – Shakespeare's bloodbath becomes a sadistic delight
(4 days later)
Nasty, but oh so very, very nice, too. Lucy Bailey's 2006 revival returns to the Globe, and it's gorier and funnier than ever. It makes as great a case for this often unloved, grinning skull of a revenge tragedy as did Deborah Warner's 1985 RSC incarnation, which starred Brian Cox as the honoured Roman general who makes the fatal mistake of refusing to show mercy to the eldest son of Tamora, Queen of the Goths, whom he has defeated in war. Nasty, but oh so very, very nice, too. Lucy Bailey's 2006 revival returns to the Globe, and it's gorier and funnier than ever. It makes as great a case for this often unloved, grinning skull of a revenge tragedy as did Deborah Warner's 1987 RSC incarnation, which starred Brian Cox as the honoured Roman general who makes the fatal mistake of refusing to show mercy to the eldest son of Tamora, Queen of the Goths, whom he has defeated in war.
Here it is William Houston – grizzled of beard and frequently suggesting a gleefully deranged King Lear, eventually broken by the pain of suffering, but still up for one last grisly Come Dine With Me moment – who plays Titus, and sets in motion the vicious circle of revenge in which blood always begets more blood. It spares us nothing. Designer William Dudley envelops the stage in black as if the entire world has been plunged into mourning, and Bailey's production – which has the incense whiff of the charnel house – wraps the action around the audience so that the groundlings become the citizens of Rome. There is no getting away from our complicity in the unfolding events as heads roll, blood spurts and hearts crack. Bailey completely understands the Globe space and uses it brilliantly.Here it is William Houston – grizzled of beard and frequently suggesting a gleefully deranged King Lear, eventually broken by the pain of suffering, but still up for one last grisly Come Dine With Me moment – who plays Titus, and sets in motion the vicious circle of revenge in which blood always begets more blood. It spares us nothing. Designer William Dudley envelops the stage in black as if the entire world has been plunged into mourning, and Bailey's production – which has the incense whiff of the charnel house – wraps the action around the audience so that the groundlings become the citizens of Rome. There is no getting away from our complicity in the unfolding events as heads roll, blood spurts and hearts crack. Bailey completely understands the Globe space and uses it brilliantly.
This is not just a splatter fest. Its savagery is always disturbing, and the wild laughter it evokes sticks in the throat as the world turns mad. Django Bates' jagged score assaults the ears, no more so than after Lavina's rape and mutilation. Flora Spencer-Longhurst's Lavina jerks and twitches like a wired, traumatised doll. There are other terrific performances, too: Matthew Needham's campily conniving Saturninus is sadistically charming; as the vengeful Tamora, Indira Varma is as slinky and dangerous as a poisonous snake; and Obi Abili's Aaron makes mischief with malicious delight.This is not just a splatter fest. Its savagery is always disturbing, and the wild laughter it evokes sticks in the throat as the world turns mad. Django Bates' jagged score assaults the ears, no more so than after Lavina's rape and mutilation. Flora Spencer-Longhurst's Lavina jerks and twitches like a wired, traumatised doll. There are other terrific performances, too: Matthew Needham's campily conniving Saturninus is sadistically charming; as the vengeful Tamora, Indira Varma is as slinky and dangerous as a poisonous snake; and Obi Abili's Aaron makes mischief with malicious delight.
• Until 13 July. Box office: 020-7401 9919. More info at shakespearesglobe.com• Until 13 July. Box office: 020-7401 9919. More info at shakespearesglobe.com
• This review was amended on 15 May 2014. An earlier version referred to Deborah Warner's production of 1985 rather than 1987.