Theater review: Much worthy in all-female ‘Titus Andronicus’

Bare Theatre’s production of Shakespeare’s rarely-staged first tragedy, “Titus Andronicus,” has an all-female cast, placing the often-gory play in an alternate, contemporary universe where women rulers fight for power. It has strong leading players and imaginative direction, although it doesn’t solve all the script’s problems.

Shakespeare’s complicated original plot centers on victorious Roman general Titus, asked to be emperor but endorsing Saturninus as rightful heir. The new emperor turns against Titus over a supposed insult when Saturninus asks to marry Titus’ daughter Lavinia. Instead, Saturninus marries the captive Tamora, queen of the Goths, whom Titus has just conquered.

Tamora and her secret lover Aaron plot revenge, prodding Tamora’s sons to rape Lavinia and cut off her hands and tongue. Those horrific deeds are the first of many maimings, stabbings and beheadings to quell all opposition in the name of a belief system, echoing today’s headlines.

Here, all the characters are women (not just women playing men’s parts). Director Heather J. Strickland has stated she wanted to show that women in power would still fall into the traps of a male-dominated society because it’s all they’ve been exposed to.

Strickland’s vision gives her cast a chance to express many emotions and physical actions women rarely are allowed on stage, including aggression, malice and cruelty. Strickland doesn’t shy away from the sexual implications of the relationships and encourages an often-frightening intensity in the confrontations.

The main players make strong impressions, beginning with Rebecca Blum, who gives subtle substance to Titus’ zeal, pain, and madness. Sarah Lynn Winter’s Saturninus is a coldly formidable foe, while Maegan Mercer-Bourne makes Tamora a believably clever opportunist.

Aneisha Montague’s Aaron is intimidatingly evil, although many lines are shouted and broken into small phrases. Leslie Castro’s Lavinia gains depth once she must use her body to express the tongue-less character’s sorrows. Rachel Pottern makes a sympathetic Lucius, Titus’ remaining offspring and ultimate emperor, but often speaks too quietly.

The rest of the 19 cast members are commendably committed, although with varying abilities to communicate the text. Throughout, lines are too often yelled, reverberating painfully off the venue’s hard surfaces.

The fights scenes and physical violence are viscerally staged, making good use of Elizabeth Newton’s flexible sets. But the show lasts nearly three hours, with long stretches of dialog unable to sustain interest. However, if you’ve always wanted to see “Titus” or are intrigued by the concept, there’s much that’s worthy here.

This story was originally published November 6, 2015 at 3:24 PM with the headline "Theater review: Much worthy in all-female ‘Titus Andronicus’."