Welcome to the team Ben!

What perfect timing! Fringe program is launched and we complete our cast! We're delighted to welcome Ben Purkiss in the role of Quintus!

It may be late but here is the review of the original Shoreditch run

Review: Titus Andronicus by Robyn Strachan

5 stars

The Rag Factory is a strange, seedy little venue. Tucked in a side street just off Brick Lane, its entrance masked by a dusty curtain, it doesn’t look suitable to host an illegal rave, never mind a theatrical production. However, ultimately none of that mattered as the UCL Drama Society’s production of Titus Andronicus was magnificent. A sparse, stripped-back affair, Titus proved that, for a production to be a triumph, all that is needed is the right choice of play and some superb acting talent. Daniel Garber, Scarlett Young, Lily Fisher and the entirety of the cast should be immensely proud of what they have achieved.
The flyers handed out on the way in promised ‘a living, breathing, bleeding graphic novel’, which was reflected in both the stage set-up and elements of the direction. Whilst a gimmicky approach tends to distract from a production of Shakespeare, the use of cleverly stylised animated panels meant that the graphic treatment complimented, not overwhelmed. The Society utilised the limited space at the venue very well; although scenery and lighting was minimal, this allowed both the acting and Shakespeare’s wonderful language to dominate.
Titus Andronicus is a strange beast which does not slot neatly into the Shakespearian canon. An attempt to tap into the revenge tragedy genre so beloved by his contemporaries, it matches extreme and often brutal violence with elevated language and a predominant sense of moral ambiguity. This production was successful partially because of its treatment of violence. By forcing stylised, Tarantino-esque atrocities into tension with harrowing realism, the violence never felt gratuitous. For instance, Lavinia’s horrific rape and mutilation was excellently realised by the sublime Avy Tennison. It worked as a scene due to its mixed elements of naturalism and stylisation, allowing for the human tragedy to become forcefully apparent whilst avoiding voyeurism. By contrast, the climax of the play was pure comic-book abstraction and revelled in the grotesque – wholly appropriate in the context of this most violent of plays! Whilst the pronounced levels of violence throughout served to contextualise the world in which the play was set, it was an inspired decision to minimalize the levels of gore in the play. This allowed the isolated gory moments to shock due to their visceral nature.
Due to the (thankfully) less racist environment of twenty-first century Britain when compared to Elizabethan times, the casting of Aaron the Moor was always going to be a thorny issue. Guido Cavaciuti seems the inspired choice for this role. Lurching around the stage and luxuriating in his own sleazy callousness, he brought life and depth to a character many have dismissed as a mere prototype for Shakespeare’s more complex Iago. To succeed, Aaron must be evil without motivation – the Machiavel, the demi-devil – but retain energy and verve. Cavaciuti deserves praise for not allowing his role to descend to pantomime villainy and for his compelling, very physical performance. Similarly, Rach Jones brought both aristocratic coldness and a bloodthirsty savagery to her role as Tamora. As the arch-manipulator in the play, Tamora is reliant on her ability to charm and deceive. Jones has the uncanny ability to imbue her part with a lovely, eerie stillness which gives the impression that Tamora is thinking, biding her time. This is especially noteable when held in contrast with the raw eroticism displayed in her scene with Aaron.
However, this play belongs to Titus and by default to Ben Blackburn. He handled the part of the vengeful, tragic father with maturity and dynamism, and delivered his complex lines with clarity. What was particularly striking is that Blackburn’s acting taps so much into the tradition of great Shakespearian actors – it is measured, bold and focuses on vocal delivery as much as physical presence – and avoids naturalism. This seems essential for a role as iconic and as difficult as Titus Andronicus and Blackburn should be commended for this. Kenneth Branagh should watch out!
In the end, the quality of the acting and direction of Titus Andronicus was such that the failings of its venue could be ignored. Curtain concealing the cast behind the stage falling down, to reveal people in full costume blinking at the audience? Didn’t matter. Audience straining to see past the first row of chairs when the action moved to the floor? Irrelevant. The thumps and cheers of what can safely be assumed to be a children’s birthday party from the room next door? Who cares! This was a marvellous production, and one which is ultimately compelling not because of its extreme violence, but because of its intelligence. The cast hope to take it to the Edinburgh Fringe Festival, which seems the next logical step for something which is this strong. But ultimately, my opinion is irrelevant - to quote from Titus, ‘But, soft! methinks I do digress too much’! Head down to Shoreditch and see the play for yourself. Just watch out for the pasties.
5 Stars​

Tom Sanders returns!!!

In a dramatic turn of events Tom Sanders rejoins the cast! Following a critically acclaimed performance in Titus at the Rag Factory, Tom will be taking the role of Chiron. The whole team are delighted to have him back!

Programme!!

Here we are! At last...

https://www.edfringe.com/whats-on/theatre/titus-andronicus-1


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