This spring, in the Swan Theatre, the RSC presents Shakespeare’s bloodiest tragedy, delivered in gory bucket-loads. Titus Andronicus is a revenge tragedy, with the revenge turned up to eleven - so much, in fact, that the tragic scenes have a habit of circling back to (very, very dark) comedy. 

Olivier, Tony and BAFTA Award-winner Simon Russell Beale gives a skillful and macabre performance as the titular Titus - a Roman general whose actions provoke a parade of murder, rape, dismemberment and infamous culinery carnage. If current events have got you feeling down, there’s a chance this play will blow away the cobwebs - or at least give you something else to talk about. 

The story begins at the end of a bloody war between the Romans and Goths. The late Emperor's sons, Saturninus (Joshua James) and Bassianus (Ned Costello) vie for favour from the Roman crowds. Into this political debate strides Titus Andronicus (Simon Russell Beale), with a group of captured Goths headed by Queen Tamora (Wendy Kweh). 

Titus takes revenge for his familial loss - ordering the dismemberment of Tamora’s eldest son (Jerone Marsh-Reid). This act of cold-blooded revenge inspires Tamora to plot the gruesome downfall of Titus and his entire bloodline. 

Wendy Kweh is excellent in this bloodthirsty role - outwardly glossy, while bubbling with rage beneath. Her ‘equal and opposite’ is Joshua James as Saturninus, whose petulant frustration makes him deliciously unlikeable. In fact, almost all the characters are fatally and extravagantly flawed, from the brawling of Tamora’s predatory sons Chiron (Marlowe Chan-Reeves) and Demetrius (Jeremy Ang Jones), to the racially-charged rhetoric from the Romans. 

Much of the play’s overt racism is directed at Aaron (Natey Jones) who in response chooses to wreak havoc on those around him, any way he can. Jones plays the character with surprising lightness and charisma, alongside visceral rage - Aaron may be surrounded by brute-force violence, but he is the manipulator. 

Director Max Webster has clearly sought to plough the depths of human depravity in this production, with primal movement sequences and sound design by Jade Hackett and Tingying Dong, and jagged, industrial music composed by Matthew Herbert. This contrasts with the (initially) clean and modern set and costume design by Joanna Scotcher. 

However, in spite of the play’s truly awful scenes (it’s definitely not for the faint of heart), it can’t be denied that Shakespeare’s script runs firmly to the ridiculous at times. Whether initiated by nerves, horror or simply expert timing from the cast, the audience found laughter, even as the blood rained down. 

Speaking of - if you’re sitting in the first couple of rows, maybe bring an umbrella…

Four Stars

Titus Andronicus was reviewed on Tuesday 29 April by Jessica Clixby at the RSC’s Swan Theatre, Stratford-upon-Avon, where it shows until Saturday 7 June.