One of Shakespeare’s earliest - and goriest - tragedies, Titus Andronicus is also one of his least-performed works. Actress Emma Fielding, who stars in the Royal Shakespeare Company’s current production, explains to What’s On why the play’s themes of power, conflict and revenge make it as compelling and relevant as ever...

Written around 1590 and considered to be Shakespeare’s earliest tragedy, Titus Andronicus has had something of a chequered history. Initially one of his most popular plays, it has since become widely regarded as his worst, with 17th-century dramatist Edward Ravenscroft notably referring to it as “a heap of rubbish” and numerous scholars debating whether the Bard wrote it at all.

Theories about how much of the play Shakespeare wrote continue to this day, and although it remains one of the least performed from his repertoire - even the RSC hasn’t staged it since 2017 - much of the criticism has abated in recent times.

The latest production is directed by Max Webster - fresh from recent successes working with Doctor Who actors David Tennant (in Macbeth) and Ncuti Gatwa (The Importance Of Being Earnest). Now showing at the company’s Swan Theatre, it stars celebrated actor Simon Russell Beale in the title role, with Emma Fielding as his sister, Marcia. The award-winning actress has been an RSC regular since spending a season there straight out of drama school, and is now one of the company’s associate artists. She firmly believes the historical debate over who wrote Titus Andronicus is less important than how exciting and relevant the play remains.

“Shakespeare might not have written all of it, but that’s the same with a lot of plays written at the time,” she says. “There was lots of collaboration - people came in to do a bit of a tidy up, or he came in to do a bit of a tidy up.

“The watchword is that it’s his bloodiest tragedy, but it’s always about much more than that, and it absolutely has resonance today.”

The play revolves around a bloodbath of violent retribution that’s set into motion when the titular Roman general, returning victorious from a war against the Goths, executes his enemy’s son in a ruthless act of vengeance. The violence that follows highlights the bloody horror of war, which the current production views through the lens of 21st-century aggression.

“We’re definitely not doing it in Elizabethan dress,” says Emma, while remaining coy about precisely how the play will look. “I’m trying not to give any spoilers! There is violence written in the script - and we’re playing the script largely as written - but it’ll be done slightly differently. It’s not like Reservoir Dogs!

“Sometimes, if you do things with concealed pouches of blood, everyone spends five or 10 seconds thinking ‘How did they do that?’ But if you do it a different way, it lets you get on with the story a bit quicker.”

Telling the story is crucial, and is one of the reasons Emma enjoys the “on the job training” of rehearsals, where she says the actors not only find out what the words they’re saying mean, but why they’re saying them.

“It’s like we’re decoding it. Sometimes it can be really clear, but sometimes it’s like a crossword puzzle. And that’s fine; that’s the joy of it. Ultimately, you’ve got to communicate it to an audience - that’s the most important thing. Shakespeare’s plays were written to be performed and not have people scratching their heads and being terribly po-faced about it.”

Emma believes the rhythms in the language are there to help, not hinder, the cast or audience. She is confident the story will be clear, as will its underlying theme - the horror and futility of war - even as hostilities rage around the globe.

“There are so many conflicts going on in the world at the moment, where people fly in and think there can be a quick and easy fix, not realising it’s generation upon generation and cycles of violence, revenge and inherited trauma.

“Look at Israel and Palestine, Ukraine, Somalia, Sudan, the Democratic Republic of Congo. All over the world, at any time, there’s constant military action, which is never a solution in itself because no one ever thinks about ‘the day after’, sitting down and having a chat. A military solution will never bring peace.”

Rather than simply condemn it, she says Titus Andronicus explores why conflict occurs - and, as usual, it involves Shakespeare observing the human condition.

“Without ramming it home and dressing people up in a particular way, audiences will get that it’s about whatever conflict you want it to be about, because it’s about human nature and our need to get one over on each other in that animalistic, feral way. We’re human, we’re flawed, we’re… difficult. People make rash decisions very quickly.

“It’s also about a crumbling empire, and what you do to try to hold on to power. These are massive themes that will always be current somewhere. It’s beautiful and horrific at the same time. I love it.”

She also loves working with Olivier and BAFTA Award winner Simon Russell Beale, who, although he is Shakespearean acting royalty, is the absolute opposite of a daunting presence to his fellow actors.

“Simon’s the least intimidating person you could meet,” laughs Emma. “I’ve known him a very long time. He’s incredibly skilful at what he does, but he’s also really great to have in a room. He’s so encouraging, he’s really kind, and I just hope a tiny bit of his talent will rub off on me.”

The actress also claims a relaxed vibe in the rehearsal room - where everyone can contribute - is critical to her own enjoyment (“it’s why I love doing theatre”), as well as the success of the production.

“Max actively encourages people to make suggestions, and we’ve got a really great creative team. Any play you do, I think - because I’m an old bag - should always be greater than the sum of its parts, and if you don’t allow people to contribute, then it never will be that. With this production, that’s what we’ve got - a really great collaborative environment to try and do our best.

“You’ve got fabulous language, great performances, and a story that goes like an express train - people won’t even stop to think. If you want to be shaken and stirred, you should come and see it - it’ll be an exhilarating watch.”

Titus Andronicus shows at the RSC’s Swan Theatre, Stratford-upon-Avon, until Saturday 7 June

By Steve Adams