Independent Shakespeare Co’s “Titus Andronicus”: or, Tragedy in the Park

The Independent Shakespeare Company‘s Titus Andronicus has got me thinking about why Shakespeare in the Park initiatives stage tragedies as part of their free seasons. What is the role of tragedy in such a context? You have a coupe options to choose from this summer in the LA area. While Indy Shakes is staging Titus in rep with A Midsummer Night’s Dream, you can also see either The Merry Wives of Windsor or The Winter’s Tale being put up by Shakespeare by the Sea. There are in fact a huge range of free Shakespeare opportunities across southern California to compete with the more formal venues like The Shakespeare Center of Los Angeles’ Romeo & Juliet and Henry IV (you know, the one with Tom Hanks) as well as The Old Globe—which looks to have no Shakespeare on its calendar until mid-August and then nothing through next June. All of those running more than one show has at least one of joy and one of discomfort. Indy Shakes even made a point of it in the program and swag, where you could get branding with the silhouette of a donkey’s head or a skull.

This is not unique to California. In the sampling of free Shakespeare I’ve had the opportunity to see, this seems to be an industry norm for the non-profits. I confess I am a bit of an addict, and have a habit of tracking down the local community Shakespeare when I’m in town for work, research, or a conference. I’m interested in what the public exposure is to Shakespeare, as most folks don’t want to pay the exorbitant ticket prices for the high-production stuff—if they even seek out theatre or Shakespeare at all. There were nearly two hundred folks at this opening, of all ages with the exception of kids under fifteen due to the content, kitted-out just at the Hollywood Bowl with picnics and wine bottles. But attention quickly waned, a huge number of cellphones appeared, and the young woman sitting next to me down-right curled up and fell asleep. So why tragedy in the park?

From left: Marcus (Richard Azurdia), Martius (Xavi Moreno), Lavinia (Katie Powers-Faulk), and Titus (David Melville).

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Dudamel’s “Otello” at the Hollywood Bowl

Admittedly, I am a bit out of practice reviewing here on the blog. My writing energies have been elsewhere, and you can see some recent things now available and forthcoming from Shakespeare Bulletin and others. Being no expert in the adaptive nuances of Shakespeare and opera, some thoughts about Gustavo Dudamel‘s one-night performance of Otello with the LA Philharmonic seemed a good fit to jump back in to blogging. (I suspect there are special issues out there on just this topic; I more than welcome any recommendations you have! The LA Times offers a detailed expert review here.) My first career was as a classical musician, so I couldn’t miss the chance to catch the rockstar of conducting ply his hand at what is widely considered Verdi’s most moving consideration of Shakespeare.

Verdi’s “Otello,” conducted by Gustavo Dudamel and performed by the LA Philharmonic. Hollywood Bowl, July 2018.

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