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TITUS ANDRONICUS ILLINOIS THEATRE Robert G TITUS ANDRONICUS ILLINOIS THEATRE Robert G. Anderson, director Thursday-Saturday, October 24-26, 2019, at 7:30pm Tuesday-Saturday, October 29-November 2, 2019, at 7:30pm Sunday, November 3, 2019, at 3pm Studio Theatre WELCOME TO THE true. The material is ever renewed and always 2019-2020 ILLINOIS embedded in a history of work on the stage. THEATRE SEASON! It is a true pleasure to The season also reflects our commitment to a share our work with diverse, inclusive, accessible theatre. Whether you. Students, faculty, on stage or behind the scenes, we strive to and guests have come make work that reflects and makes space for together to produce our whole community. From the planning and a year of exploration, design to the work you experience on stage, of reflection, and of we believe theatre has the capacity to engage illumination. We are the world as it is in all its complex challenges and proud to be in our second half-century as a to envision and enact the world as it might be. theatre department and offering drama at the We are so pleased you have chosen to share highest level. Illinois is a leading program with this with us. We hope you enjoy it and look more than 200 students and nearly 40 faculty forward to seeing you again. members. Housed in Krannert Center, we are fortunate to have the resources of a Gabriel Solis world-class environment for dramatic art. Professor and Head, Department of Theatre Theatre is a call to your senses and your spirit. As a call, it welcomes your response. Our work HELLO AGAIN, ANEW! is meant to touch you deeply, to surprise, As the “newly minted” at times to unsettle, and always to offer Producer for Illinois you an opportunity for thought and further Theatre, I echo the engagement. sentiments of Professor Gabriel Solis in warmly This year’s season reflects our commitment as welcoming you to the a department and as individual artists, scholars, 2019-20 Illinois Theatre and makers to wrestle with the enduring season. This year will mysteries of the human condition and with see many new, exciting the critical questions of our times. Whether changes at Illinois you are seeing a work from classical antiquity, Theatre as we continue to strive to bring you performed thousands upon thousands of times, quality theatrical experiences even as we or a new piece never seen before, the same is continue to grow as artists and creators ourselves. 2 Illinois Theatre has long been recognized as a wonderfully fertile space where students, faculty, staff, guest artists—and sometimes even unsuspecting audience members— have come together to communicate with each other through the medium of theatre, often times creating ephemeral yet enduring encounters that affect hearts, minds, bodies, and souls. Is that a bit "dramatic?" Ah, well, forgive my hyperbole, but the desire for connection that infuses our work colors all that we do. From the classroom to the scene shop to the stage, we at Illinois Theatre seek to connect—with each other and with you. Pursuant to that, we are indeed continuing to focus our efforts on not just committing to but actually creating physical, aural, and visual spaces that are welcoming to human beings of all varieties. This is an ongoing journey, and to succeed, we need your support and your voice. What you will see on our stages tonight is the product of every department head, faculty and staff member, and students past and present who have passionately worked to bring us all to this moment. If we have made you think, feel, ponder, or wonder, it is our honor to do so. Welcome, and enjoy. Lisa Gaye Dixon Producer, Department of Theatre 3 PROGRAM TITUS ANDRONICUS ILLINOIS THEATRE By William Shakespeare Adapted by Andrea Stevens Robert G. Anderson, director Thursday-Saturday, October 24-26, 2019, at 7:30pm Tuesday-Saturday, October 29-November 2, 2019, at 7:30pm Sunday, November 3, 2019, at 3pm Studio Theatre PLACE: Rome SCENE ONE: The streets of Rome. Before the Palace. SCENE TWO: A forest outside Rome. SCENE THREE: A lonely part of the forest. SCENE FOUR: A street in Rome. SCENE FIVE: The home of Titus Andronicus. SCENE SIX: A room in the Palace. SCENE SEVEN: Before the Palace. SCENE EIGHT: The Palace. SCENE NINE: The camp of the Goths. Near Rome. SCENE TEN: The home of Titus Andronicus. SCENE ELEVEN: A banquet. The home of Titus Andronicus. This production will be presented with no intermission. This production contains adult content, smoke/haze effects, and strobe effects and is intended for mature audiences. This production will include closed captioning. 4 TITUS ANDRONICUS PLAYWRIGHT SOUND DESIGNER William Shakespeare Dominick Rosales DIRECTOR ASL DIRECTOR Robert Gerard Anderson Crom Saunders SCENIC DESIGNER FIGHT CHOREOGRAPHER José Manuel Díaz-Soto David Sterritt COSTUME DESIGNER STAGE MANAGER Courtney Anderson Brown Devin Richard LIGHTING DESIGNER DRAMATURG AND ADAPTATION Alena Samoray Andrea Stevens MEDIA DESIGNER DRAMATURG John Boesche Vincent Carlson 5 CAST TITUS ANDRONICUS NURSE SEMPRONIUS Andrew Morrill Tafadzwa Diener Caitlin McDermott Rachael Fox* CAPTAIN CAIUS MARCUS ANDRONICUS Drew Brady Fabian Guerrero Erica Hernandez TAMORA YOUNG LUCIUS SATURNINUS Amy Toruño Corey Barlow Dane C. Brandon ALARBUS TITUS’ DEAD SON BASSIANUS Gabriel Ortiz Brandon Whitehead Charlie Bauer DEMETRIUS GOTH 1 LUCIUS Daniel Rivera Destin Sorin Ben Mathew CHIRON GOTH 2 QUINTUS Katelin Dirr Gabriel Ortiz Connor Kamradt AARON GOTH 3 MARTIUS Leojaé Payton Brandon Whitehead William Burke AEMILIUS GOTH 4 MUTIUS Aidra Crawley Charlie Bauer Destin Sorin PUBLIUS LAVINIA Luis Julian Martinez Erin Ryan UNDERSTUDIES Fabian Guerrero (Marcus Andronicus), Tafadzwa Diener (Tamora) *Appears as a member of Actor’s Equity Association (AEA) The role of Titus Andronicus will be played concurrently by a deaf and a hearing actor. Both actors will appear onstage at the same time performing the role in a theatrical doubling intended to enhance the emotional and physical life of the play. The complete run of Titus Andronicus will be closed-captioned. 6 DRAMATURGS’ NOTES No less of an authority than T. S. Eliot declared There is no doubt, though, that the play Titus Androncius, first performed around 1592, challenges viewers. What do we make of a father “one of the stupidest and most uninspired who views his children as mere extensions of his plays ever written.” If the modernist poet own family honor—as bodies to be sacrificed found Shakespeare’s earliest tragedy to lack in war, killed suddenly and capriciously, or the decorum of a Hamlet or a King Lear, dispatched in marriages to which they do not Shakespeare’s own audience loved it; it was consent? Aaron himself is among the English among the playwright’s first box office successes stage’s first major Black characters, a villain whose and was performed repeatedly over decades. own attitude toward fatherhood—compared to Shakespeare modeled Titus Andronicus on Titus—perhaps comes as a relief. This fast-paced Elizabethan blockbusters such as Thomas Kyd’s The adaptation pares down the play to its core, most Spanish Tragedy, which provided a template for the notably by converting some scenes to inset genre of the revenge tragedy: let it be bloody. spectacles and “dumbshows,” the early modern term for a part of a play conveyed in silent action Later, critics found the play’s tone unsettling, to and gesture. say the least—its inclusion of wordplay about tongues and hands, for instance, alongside The intimacy of Studio Theatre means we are scenes of rape, mutilation, and torture. It took forced to confront our own moral involvement until 1955 and director Peter Brook’s seminal in what we see. After all that has passed—after production starring Laurence Olivier and Vivien what we see done to Lavinia—can Rome indeed, Leigh for the play to find new critical appreciation. as Marcus puts it, “be knit again / . into one The play introduces themes and motifs to which mutual sheaf” and made whole? Shakespeare would return. He revisits the perils of Roman leadership in Coriolanus; Aaron and — Andrea Stevens, dramaturg Titus meet again as Iago and Othello; we might recognize aspects of Lady Macbeth in Tamora. 7 Titus Andronicus, a stoic Roman general, returns MARCUS: Why dost thou laugh? It fits not with home from wars to bury the last of his 21 this hour. sons lost in victory over the rival Goths. Titus’ remaining four sons demand retribution of their TITUS: Why? I have not another tear to shed. prisoners—Tamora, Queen of the Goths and her (Act III, Scene 1) captive sons. Titus commands Tamora’s first- born son to be killed in ritual sacrifice. Tamora Much like Titus, left to reckon with the pleads for his life. Titus does not grant pardon. presentation of his mutilated daughter, we, the When the appeal for mercy is denied, hope is audience, are also left to question our own taste shattered, and a desire for revenge emerges. For for and/or distaste of violence. Titus Andronicus the characters in the play, revenge offers a clear displays a pantheon of violent imagery. The (albeit problematic) map in uncertain times. ethical obligations of staging such torrential violence is one that calls for a response. Do There is an extraordinary capacity for violence we cry? Do we rage? Do we gape in silence? in the world. There is no denying that. Titus Do we laugh? Are we activated by the shock? Andronicus certainly shows the worst of us—what We must also consider that arguably the most we are capable of and with what relish we can extreme violence in the play (and there is much undertake such atrocities.
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