Theatre Works and Th’ Unguarded Duncan have delivered a Titus Andronicus that shakes the dust off Shakespeare’s most brutal tragedy and gives it a visceral, contemporary pulse. It’s a nightmarish, muscular production filled with human vulnerability and psychological horror rather than empty shock value and it had the audience ricocheting between laughter, gasps and the occasional tear. This is Titus for newcomers and die-hard Shakespeare fans alike.
At the centre of it all is Josh Morrison as Titus, who unleashes an unrelenting rage that never tips into caricature. His performance is a thunderous force, yet it sits on a foundation of emotional authenticity that makes the character’s descent compelling. For my taste, I might have enjoyed a sharper arc from decorated general to shattered father, but Morrison’s clarity of intention gives the role a gripping cohesion that I really can’t fault. It’s easily the best Titus I’ve seen.
Joanna Halliday’s Lavinia is spellbinding. She begins the play vivacious and bright then slowly transforms into something still, deliberate and driven. Her physical and emotional control draws your eye even in silence. Halliday leans into the horror elements without losing the character’s dignity, giving us a Lavinia who is both haunting and heartbreakingly human.
Helen Hopkins grounds Marcus with immaculate text work. She brings the energy of a seasoned Shakespearian actor, the kind who makes the verse feel like breath rather than technique. Marcus can vanish in a sea of titanic characters, but Hopkins’ patrician poise ensures the role resonates.
The production finds remarkable subtlety in its men of war. Rajendra Moodley (Aaron) and River Stevens (Lucius) deliver monologues that feel as if they’re aimed straight at each audience member. Their grounded humanity makes their choices believable and their presence magnetic.
Meanwhile, the Goth brothers steal scene after scene. James Cerche (Chiron) and Seon Williams (Demetrius) are wickedly funny, disturbingly casual and physically razor sharp. Their playful cruelty taps perfectly into the show’s tonal balance of horror and wit.
Victoria Haslam’s Tamora delights in viciousness, particularly in her chilling condemnation of Lavinia. She’s dangerous, charismatic and hard to look away from.
Directors Kevin Hopkins and Claire Nicholls craft a production that feels purposeful in every moment. The physicality is cohesive, the pacing is tight and the story is crystal clear without ever being over-explained. The minimal set keeps the focus on the ensemble, and while the central ring’s construction briefly distracted me, its use to delineate space and evoke the infamous pit was inspired. Lighting stays subtle and supportive, letting the actors carve the world. Max Hopkins’ sporadic bursts of heavy metal underscore transform key scenes into something almost cinematic, heightening tension and chaos in all the right places.
Paulina Kostov and Victoria Haslam’s costuming choices and creation drew a sharp line between worlds: disciplined Romans in hakama and rebellious Goths in punk-inspired gear. It’s a clever visual shorthand that deepens the storytelling.
This production made me see Titus Andronicus in a new light. It strips away the noise and brings the humanity right to the surface. A thrilling, haunting and deeply satisfying night of theatre at Theatre Works.
To book tickets to Titus Andronicus , please visit https://www.theatreworks.org.au/2025/titus-andronicus.
Photographer: James William
