Review: Titus Andronicus (Hampstead Theatre)

Review by Dan Ghigeanu

⭐️⭐️⭐️⭐️⭐️

Believed to have been written somewhere between 1588 and 1593 with its first recorded performance in history being in 1594, Titus Andronicus has often been reduced to the fringes of the Bard's celebrated tragedies. Known for its overwhelming bloodshed and gory violence, it has frequently been dismissed as a flawed piece. However, in this electrifying modern production, which transferred from the Royal Shakespeare Company’s Swan Theatre earlier this year, director Max Webster has breathed new life into one of Shakespeare's earliest and most controversial works.

A tale of revenge that spirals into madness, Titus Andronicus has never felt more relevant, visceral, and almost gleeful in its brutality. This production taps into the primal power of the play, leaning into its savagery while also highlighting the emotional depth that often gets lost in its reputation for violence, of which there is plenty. Titus Andronicus is Shakespeare’s bloodiest work but beneath the torrent of violence, there is a dark reflection of human nature that this production seizes with grace and potency.

The central theme of Titus Andronicus is revenge, a cyclical desire for retribution that inevitably spirals into further violence. The play opens with the Roman general Titus Andronicus’ victorious return from war with his prisoners, the Goths. This sets the stage for an exploration of duty, power, and family, and it doesn't take long before the violence begins, shockingly swift in its execution. The first murder occurs within minutes of the opening scene, setting the tone for the brutality to follow.

What Max Webster captures in this version is the inevitability of the bloodshed, the way in which revenge leads only to further revenge. Shakespeare’s exploration of the darker sides of humanity, particularly the moral decline that festers in a world governed by power and vengeance, comes alive in this production with sheer relevance. In a world where cycles of revenge and violence are all too familiar, the play feels timeless, both horrifying and compelling. 

The design elements contribute to its heightened emotional resonance. Designer Joanna Scotcher has created a space that feels both minimal and oppressive. The set features an almost cage-like structure around the edges, where the characters are trapped within their own cycles of violence. The use of grey tones in the costumes furthers this sense of bareness, reinforcing the play's overall vibe of moral deterioration. Lighting designer Lee Curan’s work is another standout feature, shifting with the bloodshed, and heightening the visceral experience of the play. It is in the transitions, those fleeting moments between violence, that the lighting design truly comes alive, amplifying the discomfort of the scenes that follow.

Perhaps the most striking creative decisions are the work of movement director Jade Hackett and sound designer Tingying Dong. The transition scenes, which shift abruptly from one bloody act to another, are choreographed with a sense of controlled chaos. Jade Hackett’s movements are raw and primal, bringing an animalistic energy to the piece, creating a sense of inevitability in the brutality. The sound design adds a primal, pulsating beat that reverberates throughout the production, adding a menacing atmosphere that heightens the tension in each scene, making the violence feel not just physical but emotional and psychological as well. 

Max Webster’s direction manages to refine the essence of Titus Andronicus into a gripping, high stakes play. Webster does not shy away from the play’s bloodiness but also doesn’t let the violence overwhelm the emotional and psychological elements. The balance between shock and substance is one of the most impressive aspects of the production. The staging’s subtle and tightly controlled pace allows the audience to feel the weight of the bloodshed while also examining the deeper emotional impact of the characters’ decisions.

Bringing a modern sensibility to the piece, without sacrificing Shakespeare’s original intent, the revenge plotlines take on a heightened quality under Webster’s direction, with each action reverberating with consequences. There is an underlying sense of tragic inevitability that injects the entire piece, leaving no escape from the mounting tension and chaos.

With such a demanding play, both mentally and physically, the production requires a cast of exceptional talent. Thankfully, this cast delivers Shakespearian excellence in abundance. John Hodgkinson’s take on Titus Andronicus is the beating heart of the show. His descent into madness is masterful, subtle and yet utterly devastating. Titus’ journey from victorious general to broken, vengeful father is portrayed with a delicate balance of strength and fragility. Hodgkinson’s performance makes you feel sorry for Titus, even as his decisions become increasingly horrific. The emotional depth he brings to the role provides the production with a grounding force amongst the chaos.

Ken Nwosu’s Aaron is larger than life as the Goth who manipulates and betrays everyone in his path. He is captivating and terrifying in this role, bringing a dark charisma to the character. Ken Nwosu balances the character’s villainy with a vulnerability that makes him one of the most complex and compelling figures of the piece. Letty Thomas as Lavinia, offers a heartbreaking portrayal of innocence destroyed by violence. Her performance is quietly devastating, capturing the agony of a character that has one of the worst fates in the show. In her silence, she speaks volumes, and her presence is felt deeply throughout the play. 

Wendy Kweh’s Tamora, the Goth queen, is charming, proud, cunning, and ultimately undone by her own arrogance. The tragic downfall of one of the play’s most ambitious characters is one of the most powerful moments, and her portrayal ensures that Tamora’s end is as shocking as it is inevitable. The performances of Jeremy Ang Jones as Dimitrius and Marlowe Chan-Reeves as Chiron add an extra layer of sinister charm, as their villainy is laced with youthful foolishness, a fitting contrast to their mother’s ambition. Emma Fielding’s portrayal of Marcia is subtle but effective. She serves as the moral centre of the family, holding things together even as everything falls apart.

Put simply, Max Webster’s Titus Andronicus at Hampstead Theatre is a triumph. A stunningly visceral production that reanimates a play too often dismissed as irrelevant or too violent. It is a bold, harrowing exploration of the costs of revenge, and with an exceptional creative team, stellar performances, and a thrilling directorial vision, it becomes something much more than just a blood-soaked spectacle. It is an outstanding and unforgettable theatre experience. 

Titus Andronicus plays at Hampstead Theatre until 11th October. Tickets from https://www.hampsteadtheatre.com/whats-on/2025/titus-andronicus/ 

Photos by Genevieve Girling