Who's Afraid of Titus? at Titus-on-the-Run Productions

As its title suggests, Who’s Afraid of Titus?, Sky Gilbert’s new workshop production of Titus Andronicus, investigates theatrical fear. That is: how do we depict fear on stage? When is stage violence scary? And do audiences ever truly fear for their life?

Before seeing Who’s Afraid of Titus?, all I knew about Titus Andronicus is that it is very violent, and there’s cannibalism in it. After seeing it, that’s still all I know.

Because at just an hour, the “content” of Who’s Afraid of Titus? is definitely not the story: it’s the action. And while that action is clearly linked to Titus Andronicus, the cast isn’t doing Titus Andronicus, really — it’s just the creative departure point, a gateway to further theatrical exploration.

This loose approach to adaptation, along with the show’s tiny budget, forces Who’s Afraid of Titus? into a gloriously theatrical place. There is no set, or even semblance of one. The time period is vaguely contemporary, but only really by default. And Veronika Hurnik’s direct-address narration constantly reminds us that we are in a theatre watching a performance by real human actors. It is not accurate to say that Who’s Afraid of Titus? breaks the fourth wall, because it never even puts it up.

The result of all this theatricality? The show’s violence feels more immediate. It isn’t violence between characters, but between people.

And to be clear, the violence is almost constant — there’s simulated fisting, slasher film sendups, garbage bag abductions, and, of course, murder.

Aesthetically, then, I’m totally on board with everything Who’s Afraid of Titus? is trying to do. But in this workshop form, I don’t think it quite gets where it wants to.

The minimalist-maximalist aesthetic works, no doubt. But for now, the show’s just a little too jam-packed — while the show’s various formal explorations are creative and invigorating, many of them could use more time to breathe. Few moments feel like they get their full expression; many end before they really begin.

Still, there’s so much to love here. You just have to be ready for non-stop intensity — because once Who’s Afraid of Titus? gets going, there’s no getting off.

Runs ‘til September 3 at the Red Sandcastle.