Trusting the script
Deborah Warner at the Swan
in Titus Andronicus
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Daniel Scuro admired Peter Brook's tasteful editing of William Shakespeare's 'extravagant poetry and melodrama'. Starting with Brook in 1955, directors have found that one way to bridge the many gaps between the 1590s and today is to omit from the playing script those passages or moments that are deemed unplayable or flawed. New to the Royal Shakespeare Company (RSC) and Stratford, Deborah Warner was best known for her work with the Kick Theatre, a 'Fringe' group in London that specialises in minimalist productions. The word repeated constantly among Titus Andronicus personnel was 'trust': trust in the script, in the audience, in the Swan Theatre and in each other. For H. R. Woudhuysen, Warner's production 'moves unerringly between high tragedy and the most painful comedy' so that 'the audience is allowed to laugh, but at the right moments'.

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