Theatre Reviews by Manning Harris - "Titus Andronicus" & "Blood Knot"

Concerning my views of GA Shakespeare's producing “Titus Andronicus,” I defer to Dr. Samuel Johnson, of the 18th Century, and Dr. Harold Bloom, of the 20th. Dr. Johnson: “The barbarity of the spectacles, and the general massacre which are here exhibited, can scarcely be conceived tolerable to any audience.” Dr. Bloom: “I can concede no intrinsic value to 'Titus Andronicus.' It matters only because Shakespeare, alas, undoubtedly wrote it.” This last comment, I suppose, is why Producing Artistic Director Richard Garner justifies this production. It is not sufficient justification.

The company uses many of its best actors, most of whom have been named in these pages in “A Midsummer Night's Dream” and “Cat on a Hot Tin Roof,” the other shows GA Shake currently has running in repertory. My advice is run to those shows, especially “Dream,” and flee “Titus” like the plague, unless hideous cruelty and mutilation are your thing. The advertisement for “Titus” gleefully hinted the production would be so ridiculously over-the-top bloody that it would be funny, a la “Pulp Fiction.” Well, it's not funny. Shakespeare may have written it early in his career to show his “competitors” he could and to make money. Frankly, Scarlett, I don't give a damn. Dr. Bloom said he would only sit through this again if Mel Brooks directed it, perhaps as a musical. I assure you Mr. Brooks is nowhere near this sickening mess, played totally straight. What a waste for a talented company.

On a happier note, three big names in Atlanta theatre have joined forces to create what is probably the summer's most notable event: a production of Athol Fugard's “Blood Knot,” an apartheid-era South African drama of two half-brothers. Tom Key, artistic director of Theatrical Outfit, and Kenny Leon, artistic director of True Colors Theatre Company, here co-star as the brothers (and are the entire cast). They are directed by Susan V. Booth, artistic director of the Alliance Theatre; this play seems a labor of love for all three (it runs through August 2 at the Balzer Theater).

The acting is exemplary; the direction is thoughtful and seamless. Mr. Leon (Zachariah) and Mr. Key (Morris) are actually reprising the roles they played in 1998: Zachariah is dark-skinned, while Morris has been “passing” for white. Between the brothers there is love and fun (and tenderness: it's a beautiful thing to see Morris washing Zack's weary feet); but there is also a tension, at times so palpable it fairly hums. There is a pen pal relationship between Zachariah and a white woman; this is tricky because the illiterate Zack must dictate to Morris. And what if the woman ever showed up—in apartheid Africa, 1961?

Of course it is sad that this story of race, respect, and the subtlety in human relationships is still so exceedingly relevant in 2009. But this extremely well-played drama is as close to required viewing as we are likely to come this summer. The three Atlanta theatrical “big shots” involved prove themselves artists of humility and power. Websites: gashakespeare.org and theatricaloutfit.org.