Shakespeare’s first tragedy, initially performed in 1594, is a real bloodbath. Thus, it is fitting that there is a literal bloodbath on the set in this production of Titus Andronicus by The Stage Austin. Members of the audience are given plastic sheets to cover their clothes lest the (fake) blood splatters on them.
In his programme notes, director Brian Hensley draws a direct parallel between the play and the dystopian reality we are living in. “We stage this play not as an antique historical drama, but as a chilling commentary on the systems of power that persist today.” The entire culture presented to the audience in the play “wields the tools of their own downfall.” Is there any real difference between “a system that is institutionally blind to humanity” killing an innocent person with a knife in ancient Rome, or killing an innocent person with a bullet in Minneapolis? In presenting Titus to Austin, Hensley writes “Our guiding thought is this: ‘When traditions make monsters of men, empires crumble.’”
Titus (played by Timothy McKinney) is up against a formidable foe in the person of Allison Paranka, who plays the role of the Queen of the Goths, Tamora. Paranka has previously filled the role of Lady Macbeth, so she knows how to project evil villainy, and it shows. As she leads her husband Saturninus to the dark waters of the river Styx, via a reign of murderous revenge on Titus, we are witness to the most ghastly sights. In 1765, the great Dr. Samuel Johnson questioned the possibility of even staging the play, pointing out that “the barbarity of the spectacles, and the general massacre which are here exhibited, can scarcely be conceived tolerable to any audience.”
The double revenge Titus takes on Tamora and Saturninus (the male leader of Rome, here played by Laura D’Eramo) at the conclusion of the play is so searing that it has become the most infamous ending in the Shakespearean canon. It is actually a reworking on the ending of a play by Seneca, who really was writing during the Roman Empire. Thus, we see the true meaning of the huge artwork that is draped in the theatre. The words Hail Rome have been overwritten by Hell Rome. For those who are yet unaware of the ending of the two plays, separated by some 1500 years, I will not say more.
For fans of science fiction, there is another inducement to attend this tremendously gripping performance. In the Dune movies, House Atreides is descended from the House of Atreus, which is at the heart of the old Greek stories brought to life by the dramatist Aeschylus. There is a horror at the beginning of the House which sets a curse in motion that begats, according to Frank Herbert, 2,500 generations, but in the ancient world many many generations of tragedy that keep recurring. That horror gets replayed in the second act of Titus Andronicus.
A showcase of very fine acting, do go to see this production, even if you must take a mild sedative first.
Lead image: l to r: Timothy McKinney, Aaron D. Alexander, Allison Paranka and Laura D’Eramo. Photo by C. Cunningham.
Image of Rome: This large artwork is by director Brian Hensley, who also did set/sound design. Photo by C. Cunningham.
Third image: A scene from Titus Andronicus, painted in 1765 by Samuel Woodforde. The imperious Queen Tamora is at left.
Titus Andronicus runs thru Jan 25, 2026
Visit the website for tickets: www.TheStageAustin.com
Location of the performance: 6134 E Highway 290, Austin
Members of the Cast
Timothy McKinney – Titus Andronicus
Samantha Plumb – Lavinia
Mateo Barrera – Lucius
Jacquelyn Lies – Marcus Andronicus
Laura D’Eramo – Saturninus
Allison Paranka – Tamora
Aaron Alexander – Aaron
Jess Buie – Demetrius
Achilles Patino – Chiron
Keyon Lemma – Young Lucius
Michael Osborn – Bassianus – Nurse-Country Fellow – 2nd Goth
Austin Lytle – Martius – Aemilius
Michael Morse – Quintus – Goth
