ARTSMONDAY: 'Andronicus' Sets a Somber Tone in Garage

The hole in the earth where the Actors’ Shakespeare Project performs the Shakespeare classic “Titus Andronicus”—otherwise known as the basement of the Garage—is as important to the overall mood of the play as the set on which the actors perform. The choice of venue exemplifies director David R. Gammons’ stripped-down aesthetic, a simplicity that works with the brutal scenes of the Bard’s script and the vicious passion of the all-male cast to create an image sure to leave a lasting impression.

“Titus Andronicus,” one of Shakespeare’s earlier plays, depicts the mental and emotional breakdown of Titus, a Roman war hero whose stubborn adherence to Roman tradition sparks numerous acts of merciless cruelty and revenge against his family to the point of their complete destruction.

The violence of the plot is not lost on the Actors’ Shakespeare Project show, which is produced by Sara Stackhouse and runs through April 22. Screams, darkness, ropes, rocks, and a round, ground-level stage greet the audience throughout the play—and that is the set. The simplicity of the stage (designed by Gammons) serves to enhance the symbolism of the few props that the actors have, and the production makes full use of the versatility that is possible with such a stage design. For example, strategically placed ropes represent forced violence between characters. Simple rocks are the actors’ weapons, but also symbolize severed hands (of which there are a number in this play).

With all male actors, two of whom play difficult female roles that involve sex and rape, the level of professionalism and effectiveness of the acting is most memorable. As Titus, Robert Walsh does an incredible job of portraying the physical and emotional collapse that his character experiences as his family gradually falls apart throughout the play. With a character that could easily be played over the top, Walsh allows the tragedy of the story to convey his internal destruction.

Both John Kuntz and Paul Melendy, playing Tamora and Lavinia respectively, carry their female roles with flawless commitment and respectability. In the first 15 minutes of the play, it may be a bit difficult to ignore the fact that a man is in Tamora’s white satin dress and allow his character to take over. By the end, however, the performance is so enthralling that it is difficult even to notice the discrepancy in the actors’ genders.

These outstanding individual performances are also important in helping to overshadow some of the weaker characterizations. Some supporting actors occasionally fall into the trap of over-dramatization, as is easy and common with a Shakespearean play. For several, the monologues and long passages are difficult to deliver realistically. Others attempt to maintain an appearance of shock and artificial enthrallment in the action of the play that is ultimately not believable.

An important directorial decision on Gammons’ part is the consistent use of anachronisms. The choice is evident in the costumes, which are designed by Anna-Alisa Belous; for a story that is originally set during the fall of the Roman Empire, the actors wear modern suits and dresses. They also use flashlights, a chef’s costume, and paper airplanes to various effects, bringing a much-needed comical element to the second act.

Overall, the careful directorial and set decisions made to establish the mood of the production—from the venue to the stage setup—are crucial to its overall success. The performances of the most important actors are respectable and amazing as they strive to capture the audience’s attention and engage them in the violent and painful story that they tell. Sympathy, laughter, tears: “Titus Andronicus” evokes all levels of emotion in the dungeon-like basement of the Garage.