Word: lavinia
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...more one watches the production, the more it is apparent that any enjoyment derived comes from the performers, all of whom might be far more enjoyable in a better-apportioned piece of theater. One salient example is Julie L. Rattey ’02, who is so touching as Lavinia, that one wishes her hands and tongue might not have been removed and that she could remain to charm the audience with her abundant talent. Then again, performers without limbs or tongues seem an apt metaphor for this Titus—no matter how hard they try, the actors have...
...like bulky action figures. Their leader Titus (Hopkins) is a straight-spoken military man of the past; his rival, the emperor Saturninus (Cumming), is pure oil of modern politician, oozing endearments and threats, riding through Rome in an open limo with a bubble top, seizing and betraying Titus' daughter Lavinia (Fraser). Tattoos abound, on the royal Goth captives led by Tamora (Lange) and on the Moor Aaron (Lennix). A big band plays at Saturninus' Saturnalia; heavy metal accompanies the Goths. A tiger stalks the forest...
...cooking show with a revenge theme, where the main ingredient is the rapist. His approach to the reductionist difficulties of "head pie" has all the confidence and self-possession one would expect of the woman herself. Opposite him in this scene is Green, with a Muppet-like rendition of Lavinia, the tongueless assistant. The idea for the scenario is mediocre at best, but the caricatures by Amblad and Green in conjunction with the cheery daytime TV soundtrack definitely took the humor up a notch...
...Amblad's specialty is looking smashingly absurd in spandex, Green does beautifully in the muumuu/wig roles. His falsetto is worthy of John Klees in all its incarnations--whether doing tongues (as Lavinia), being clueless (Juliet) or portraying Gen X Ophelia drowning herself in a cup of water. When not occupied with his feminine side, Green breaks down the traditional audience/performer boundaries by involving everyone in a "workshoping Ophelia" wherein the crowd chants the various mantras of her id, ego and superego in preparation for her dramatic demise. If there is a prop to be used, Green...
...Lavinia Currier's Passion in the Desert begins as a historical chronicle of the late 18th-century Napoleonic wars in Africa, but soon reveals more central concerns as a meditation on the ties between man and beast. The central conceit of the picture is a love affair, not as platonic or intellectual as you might think, that springs up between a soldier and a leopard. Yes, that is what I said, and it's a lot of ground for one picture to cover conventions of visual storytelling cannot easily accommodate such philosophical ambitions. It's hard enough to stage this...