tion to make the Shakespearean wheel, for once at least, come full circle. A large audience was drawn to the Old Vic through curiosity, and the comments of the spectators and the newspapers were at one in declaring the play impossibly bad. The Times mentioned among the qualities which make it tolerable at all the swiftness and firmness of the telling, and the extraordinary dexterity with which the plot moves from death to death. 'It could never have appealed to the cultured classes,' said the Morning Post, 'but had all the elements of popular success. . . . It is very repulsive, but workmanlike.' The text used was the original version of the First Folio, with one noteworthy and very effective emendation: a laughing-scene for Aaron was introduced in Act III just before his exit, after he has cut off Titus's hand. The Moor's satanic laughter is not specifically referred to in the text, but is justified by his remarks. (Cf. V. i. 111–113.) A very fine stage-setting by Hubert Hine was used in the production at the Old Vic.
Titus has been produced only once in America. It was performed by the Yale Chapter of the Fraternity of Alpha Delta Phi, in New Haven, on April 14 and 15, 1924, under the direction of Mr. E. M. Woolley and Professor J. M. Berdan. The production was the annual performance of a series of Elizabethan plays, given in the Elizabethan manner, with the original text.
The Prinzregententheater in Munich was the scene of the latest performance of Titus, on October 15, 1924. The German version used was the translation of Nicolaus Delius, and very elaborate scenery by Eugen Keller was employed.
Titus Andronicus is the only play of the Shakespearean canon that has not been performed at the Shakespeare Memorial Theatre in Stratford.
