Performances 26-31 October 2026 in the Auditorium

Titus Andronicus has a reputation for being unnecessarily gory, and this has contributed to the play being viewed as a lesser work in Shakespeare's canon. While it is true to say that some of the violence is quite extreme, the writing is arguably as powerful and moving as any of Shakespeare's other great tragedies, and there are some terrific parts which will allow skilled performers the opportunity to explore a whole range of emotional depth. The violence in the play will not be sanitised, but my focus will be on the human cost of bloodshed and revenge, and how the innocent and vulnerable often suffer the most in the pursuit of power, profit, or vengeance.

I am keen to make this as open a casting as possible; there many parts which could be played gender-blind, and this is indicated below.

All ethnicities are welcome, and casting will be race-blind apart from Aaron who must be black, and Saturninus who must be white. The "smaller" named parts will be doubling as ensemble, playing other named characters as well as senators, Goths, messengers. So there will be plenty of stage time for everyone!

Ages listed are playing age and reflect the familial relationships within the play.

Characters

Titus Andronicus (M) (45+) Roman general

Tamora (F) (35-45) Queen of the Goths

Aaron (M) (25+) Tamora's lover

Marcus Andronicus (M/F) (45+) Tribune and Titus' sibling

Lavinia (F) (20s) Titus' daughter

Saturninus (M) (30s) Emperor of Rome

Lucius (M) (25+) Titus' eldest son

Demetrius (M) (early 20s) Tamora's eldest surviving son

Bassanius (M/F) (25+) betrothed to Lavinia

Chiron (M) (early 20s) Tamora's youngest son

Young Lucius (M/F) (16-18) Titus' grandson

Publius (M/F) (25+) Marcus' child

Martius (M/F) (20s) one of Titus' remaining children

Quintus (M/F) (20s) one of Titus' remaining children

Mutius (M/F) (20s) one of Titus' remaining children

Nurse (M/F) (Any age) Attendant to Tamora

Emillius (M/F) (Any age) Attendant to Saturninus

Audition format

After an initial introduction where everyone will read their chosen individual speech from the non-Titus texts listed below, we will explore the various audition pieces from the play together. Aside from mastery of the text itself, the rapport between the characters, and the believability of their relationships is key. Therefore the structure will be fairly informal, as we explore what groupings work.

The audition panel will consist of the director, and two casting advisors. If you would like to audition, but are unable to attend on the 16th June please contact the director beforehand, and we will try to arrange a different date. If you require any adjustments to enable you to audition, such as coloured acetates, coloured paper or a specific font, please contact the director at least three days before the audition.

Audition material:

From the 23rd May a copy of the play will be behind the box office to read at the theatre. Please do not take this away. Audition pieces will also be available from behind the box office to take away, or can be copied from the script. There is a photocopier at the theatre, please ask for assistance to access the copier if required.

There is no expectation that anyone should learn the speeches, but it would be worthwhile to read them beforehand to understand the motivation of the characters.

Audition pieces:

All auditionees please prepare one of the following short speeches:

Comedy of Errors, Act 2 Scene 2 Lines 120 - 149 (Adriana) "Ay, ay, Antipholus, look strange and frown...And break it with a deep divorcing vow."

Macbeth, Act 1 Scene 7 Lines 1 - 28 (Macbeth) "If it were done when 'tis done...And fall on th'other."

King Lear, Act 1 Scene 2 Lines 1 - 23 (Edmund) "Thou, Nature, art my goddess...Now, gods, stand up for Bastards"

Twelfth Night, Act 2 Scene 2 Lines 17 - 41 (Viola) "I left no ring with her...for me t'untie"

These short speeches will be used to showcase your handling of Shakespeare's verse.

Again, they do not need to be learned. There are several online versions available, the Folger version has searchable versions of all Shakespeare's plays:

https://www.folger.edu/explore/shakespeares-works/all-works/

Specific pieces for the named characters are as follows:

Act 2 Scene 1 Lines 45 - 109 (Aaron, Demetrius, Chiron) "Ay, boy, grow you so brave?... Nor me so I were one."

Act 2 Scene 3 Lines 55 - 87 (Bassanius, Lavinia, Tamora) "Whom have we here? Rome's royal Empress....Good king to be so mightily abused!"

Act 2 Scene 3 Lines 210 - 246 (Martius, Quintus) "Why dost not comfort me and help me out....Thou canst not come to me. I come to thee."

Act 3 Scene 1 Lines 23 - 56 (Titus, Lucius) "O reverend tribunes, O gentle aged men....From these devourers to be banished."

Act 3 Scene 1 Lines 246 - 306 (Titus, Marcus, Lucius) "Now let hot Etna cool in Sicily....To be revenged on Rome and Saturnine"

Act 4 Scene 1 Lines 1 - 77 (Titus, Marcus, Young Lucius) "Help, grandsire, help!....That we may know the traitors and the truth."

Act 4 Scene 2 Lines 57 - 86 (Nurse, Aaron, Demetrius, Chiron) "O, gentle Aaron, we are all undone!....Aaron, it must. The mother wills it so."

Act 4 Scene 4 Lines 53 - 116 (Saturninus, Tamora, Emillius) "Despiteful and intolerable wrongs!....Then go successantly, and plead to him."

These line numbers are from the Folger online edition for reference. If using a different edition the line numbers may vary slightly.

For further information, any questions or assistance, please contact the director via this contact page.