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Pajiba’s Twisted Masterpieces

Now You’ve Blown Away the Sun, Darkened Eyes and Bitten Tongue

Titus / TK

Twisted Masterpieces | October 1, 2008 | Comments (49)


Titus, Julie Taymor’s big-screen debut, is a deliriously wild, visually assaulting mess of a movie. It’s big, it’s loud, it’s at times garish, disturbing, shocking, and sometimes just flat-out gross. It’s also one of the most beautiful pictures I’ve seen. The cinematic re-telling of Shakespeare’s “Titus Andronicus” is an explosion of light and sound and blood; part musical, part tragedy, part horror show. “Titus Andronicus” is renowned as one of the Bard’s goriest, bloodiest play (so much so that some doubt his authorship), and matching it with Taymor (who directed, produced, and wrote the screenplay), at the time probably most well-known for directing the Broadway musical version of The Lion King, seemed an unlikely pairing to say the least. Yet she managed to somehow take the gore and brutality of the play, match it with her gift for choreography and vivid production design, and create a unique film that both Shakespeare and film buffs alike should see.

For those unfamiliar with the story, and I don’t blame you if you’re not — it’s one of Shakespeare’s earlier and less well known plays — Titus takes place shortly after the death of Rome’s emperor. The emporer’s brother, Titus Andronicus (Anthony Hopkins), is returning from war with the Goths. He arrives, triumphant, with the Queen of the Goths, Tamora (Jessica Lange) and her sons Chiron (Jonathan Rhys Meyers) and Demetrius (Matthew Rhys) in chains, as well as Aaron the Moor (Harry Lennix), Tamora’s secret lover. A third son, Alarbus, is also captured, but Titus promptly sacrifices and guts him (in front of his family, no less), deaf to the desperate and tearful begging of Tamora. Titus is offered the throne, but refuses, and instead the emporer’s eldest son, Saturninus (Alan Cumming) takes up the crown. In somewhat incestuous fashion, Saturninus and Titus agree that he will marry Titus’ daughter Lavinia (Laura Fraser), but she rebuffs him because she’s betrothed to Bassianus (James Frain), enraging her father. Saturninus instead, in a perceived shrewd political maneuver, takes the scheming, vengeful Tamora as his bride. By setting her and her family free, and by becoming smitten with her sensuous charm, he inadvertently sets into motion a series of brutal, gruesome events, leading into a tale of murder, rape, torture, cannibalism, and other delightful family values.

It’s nasty stuff, the events of Titus, executed with a style and flair that’s rather incongruous with the subject matter. Similar to Richard Loncraine’s 1995 iteration of “Richard III”, 1999’s Titus uses modern artifices to refresh and add new dimension to Shakespeare’s tale. The costumes and sets vary wildly in tone and fashion, integrating different time periods and themes into one bizarre, eye-popping pastiche. At times it’s a little jarring, especially when coupled with Taymor’s odd variety of music that ranges from Wagnerian orchestral pieces to more contemporary, techno-inspired tracks. Yet one can’t help but applaud her audacity. It’s one thing to update Shakespeare — that’s not necessarily new. It’s another thing to completely turn it on its head and spin it around.

Amidst all of this colorful and vivid imagery is a story that is equal parts riveting and horrifying. It’s not that it’s scary — it’s that Titus is truly a twisted tale, full of fierce and cruel savagery, human debasement and insidious scheming. It takes the concepts of revenge and deceit to places I’ve rarely encountered. If there is an infamous scene (and fair warning, I’m going to drop some spoilers here), it’s easily the rape of Lavinia. Tamora, in a seething fury over the murder of her sons, encounters Lavinia and Bassianus in the woods during a hunting trip. Her sons murder Bassianus and are debating the idea of raping Lavinia, a plan that Tamora doesn’t just allow, but that she encourages. In one of the most heart wrenching, terrible moments, Lavinia falls to her knees, clutching desperately at Tamora’s skirts, begging for her to, as a woman, take pity on her… only for Tamora, with an ice-cold smile and glowering eyes, to beckon for her sons, who carry Lavinia off to untold torments. Thankfully, the rape itself isn’t shown… but the aftermath is. That part I won’t spoil, but what is done to her beyond the rape itself presents a haunting, disturbing image that will undoubtedly stay with you.

On top of the murder and dismemberments that you see, there is enough deceit, vengeance and venality to make you never want to leave the house. There is a simmering, festering undercurrent of rage throughout the film; each character has a seemingly mortal grudge that requires not just vengeance or punishment, but vicious, dehumanizing retribution. There has certainly been a fair share of schemers and villains in Shakespearean tales, but rarely, if ever, have there been any like this. In theory, I suppose Titus is supposed to be the protagonist, but given that he set the events in motion by killing Tamora’s son in front of her, it’s difficult for him to cut too sympathetic a figure. At the same time, though Tamora’s fury is a righteous one, and her thirst for “justice” is certainly understandable… the steps she, Aaron and her sons go through are not just justice, but a war waged on the humanity of their enemies. Chiron and Demetrius are played as drunken, feral wildlings — crazed and impulse-driven and without conscience. For them, the rape of Lavinia isn’t even a strike back at Titus — one gets the impression they would have done it anyway, simply because they couldn’t have her in the first place. However Tamora and Aaron are forces of nature, determined to devastate everything in their path; Aaron even goes so far as to admit, “If one good deed in all my life I did, I do repent it from my very soul.” Not only do they instigate the rape and torture of Titus’ daughter, they frame his sons for Bassianus’ death, then, through further deception, persuade Titus to disfigure himself in an effort to save them. Titus, however, is not without his own machinations and taste for the exotic reparations, and all of this leads up to a wickedly deranged climax that practically leaves the viewer breathless, not to mention mildly revolted.

It’s hard to give an adequate description of Titus and still make it sound appealing — much of the blame for that lies on the shoulders of Shakespeare, not Ms. Taymor. Despite all of the gore and brutality that pervade the film, Titus is unquestionably one of the most beautiful films I’ve seen. Taymor, clearly showing her Broadway roots, embues the film with a rhythm and flow that makes all of these events move together in a dance-like motion. She gives her influences away in the very first scene, whereupon Titus and his soldiers thunder their way back into Rome, in a highly stylized, splendidly choreographed set of movements — dancing, stomping, marching and spinning weapons and shields in cadenced unison. The combination of music, imagery, costumes and choreography all combine into a remarkable and compelling rendition of the play. Similar to Across the Universe, Taymor took a concept and tossed it into a blender mixed with her own unique creative flair, and managed to come up with something wholly unique, engaging, and yes, even lovely. For every stark, austere backdrop, there is a bright, colorful counterpart. The grim scene of Lavinia, lingering wraithlike and despairing in the marshlands, is just as beautiful (albeit in a far more depraved fashion) as the opulent bacchanal that is Saturninus and Tamora’s wedding reception. Replete with dancers and musicians, massive trays of fruit and meats floating across pools of crystal water in the middle of a room of glamorous and brightly dressed celebrants, it presents a scene of near-orgiastic festivities.

A film is successful if you have three things: good writing (check), good production/direction (check), and good acting. Though Taymor was remarkably inexperienced with film direction, she was able to gather an incredible cast together. In addition to those already listed, the film also stars Colm Feore (you are forgiven for the WarGames sequel, Colm) as Marcus Andronicus, brother of Titus; Angus Macfadyen as Lucius, yet another of Titus’ sons who is banished for trying to free his brothers and ultimately plays a part in unraveling many of the film’s intrigues. The supporting cast members are all wonderful in their own right. Cumming in particular is excellent — while I’ve always felt that one of his weakness as a film actor is that he simply seems to be playing Alan Cumming, and he is somewhat guilty of that here, his portrayal of Saturninus as a petulant, malevolent king is great. While all of the characters play a part in setting the story’s events into motion, much of his responsibility for it is born sheerly out of his own ignorant scheming. Cumming successfully plays him as an ambitious, power-hungry, intellectually challenged buffoon. Rhys Meyers and Rhys, as Charon and Demetrius respectively, clearly revel in their roles as the sadistic monkeyboys, leaping and prancing and humping their way through the movie while their eyes flash with a base and terrible lust. Feore’s role is a smaller, but important one, and his emotional resonance (particularly upon his finding Lavinia) is powerful.

But it’s Lange’s and Hopkins’ movie, without a doubt. Hopkins’ portrayal of Titus is spectacular, and clearly inspired by some of the great Shakespearean cinematic portrayals. Shoulders set and gazing directly at the camera in parts, he conveys a feeling of weary noblesse oblige as he wades through each successive tragedy. His delivery is clearly channeling Olivier, but it smacks more of homage than thievery. Of course, it’s aided by the realization that Olivier never saw a set as consumed by total bedlam as this. It’s a truly impressive feat to play the only real subdued performance in such a chaotic atmosphere and not be diminished by it. Lange, on the other hand, is a steely, rage-filled Fury. She starts the film out as a brave, sympathetic mother, anguished over the death of her son. As we delve deeper, we can see how that event stains her soul, leading her to become the dispenser of barbarity and to revel in the madness that she creates around her. What’s so compelling is how she threw herself into the role, flaunting knee-knocking sex appeal in gold lamé and face paint, her “why don’t you have a bite of this apple” smile casting portents of doom with every wicked glance. It’s a performance that’s miles away from the rest of her already-amazing resume.

It’s rare that you see a film quite like Titus. It’s gorgeously shot, with stunning scenery and detailed, extravagant costumes, moving easily between decrepit stone buildings, lush forests, lavish palaces and decayed, gloomy marshes. Combining the artistry and choreography of a musical with astonishing visuals and varied music choices, it’s unquestionably a feast for the eyes. Yet it’s a grim, dark work, full of nastiness and avarice and viperish plots of revenge designed not just to redress wrongs, but also to destroy and dehumanize. For those whose stomachs turn at such things, all I can say is — embrace it. It’s not torture-porn level gross or disturbing — most of the truly terrible things happen off-screen. Instead, it glories in its madness, creating a unique, bizarre, and riveting picture that must be seen to be fully appreciated — or reviled. It’s not for everyone. It’s certainly not something you may want to see twice. But, for the love of the Bard, just see it.

TK can be found wandering aimlessly through suburban Massachusetts, wondering how the hell he got there while yelling at the kids on his lawn. You can find him raising the dead in preparation for world domination at Uncooked Meat.









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Comments

That part I won't spoil, but what is done to her beyond the rape itself presents a haunting, disturbing image that will undoubtedly stay with you.

Yes it does. My god how it stays with you. I haven't seen this in years, and yet that scene and the dinner scene at the end are the only two that I remember. I'll have to rent it again, great review TK.

Posted by: Julie at October 1, 2008 1:13 PM

Thank you for this. Now I have more evidence to defend my assertion at the beginning of my Shakespeare class that Titus was, in fact, a good Shakespeare film. Better than that awful Ian McKellan Richard III abortion, anyway.

I remember I wanted to show a clip from this to my freshman high school English class when I presented on Shakespeare (each student did a different major author). The teacher said I better just show 10 Things I Hate About You.

Posted by: Robert at October 1, 2008 1:17 PM

Thank you for the awesome review, TK. I LOVED this film, and it's a great adaptation of the play. Wit, panache, gore, treachery - oh hell yes, treachery; Lady MacBeth could take lessons - it all comes together in a dinner party the like of which you ain't seen!

Posted by: The Wanderer at October 1, 2008 1:17 PM

THANK YOU.

Didn't know you were in the club too.

Posted by: Jay at October 1, 2008 1:30 PM

Love this movie so much. Great review!

Posted by: twig at October 1, 2008 1:31 PM

This is the film I use to convince my blood-and-gore-lovin' friends that Shakespeare is the SHIT.

My only goal as an actor is to someday play Tamora - there is no more delicious role for an asskicking woman in the entire canon of theatrical literature. Someday . . .

Posted by: Tammy at October 1, 2008 1:33 PM

Great review - I'm a little frightened, and yet I still want to see it.

Posted by: Cindy at October 1, 2008 1:34 PM

thanks, TK, for validating my utter love for this film. The first time I watched this, it was a rental; it was bizarre, and somewhat off-putting, and it haunted me, and I quickly went out and bought it. I've watched it many times since, and will watch it many times again. Most of my friends hate it, citing the music or the Lavinia storyline, or just the utter morbidity of it all.

For anyone who hasn't seen it, I recommend you do so immediately if not sooner. TK is not kidding around about the awesomeness (and I mean that in the biblical sense) of the performances. Hopkins is A. Maz. Ing. And this is one of the few things I've seen Lange in that I've really truly loved her performance. The textures are ... gorgeous is too simple a word, and does not convey the visual beauty that is laid out before you and that sucks you into its soul. It is fairly indescribable, and yet Mr. TK has done so with aplomb.

(Oh, and by the way - the rape itself isn't shown... but the aftermath is - haha- whenever I'm misbehaving, Mr. vB threatens me with this [not the rape, the aftermath].)

Posted by: Anna "Knife Pile" von Beaverplatz at October 1, 2008 1:41 PM

I made the mistake of watching this movie..ahem...under the influence...and while I fully agree that it is gorgeous and well done on all accounts, it fucked my shit up. Which is probably why I haven't been able to watch it again sober.

Posted by: MG at October 1, 2008 1:50 PM

Oh, cruel irreligious piety.

At least you referenced one of the other highlights of the movie, Aaron's soliloquy at the end. Abso-fucking-lutely amazing. I almost, almost felt bad for him.

Posted by: noah at October 1, 2008 1:56 PM

Where the fuck is Stacy Keach in this? He rocked it in Moving Violations, yo....

Posted by: Rubble44 at October 1, 2008 2:00 PM

I can think of at least two things wrong with my last post.....

Posted by: Rubble44 at October 1, 2008 2:01 PM

P.S. Is it wrong that I found Rhys and Rhys Meyers completely hot in their evility?

P.P.S. Is it also wrong that I just made up the word "evility"?

Posted by: Anna "Knife Pile" von Beaverplatz at October 1, 2008 2:03 PM

I agree with you, MG. It was gorgeous and I couldn't take my eyes off of it, but man alive. I couldn't shake the uncomfortable feeling it left me with for days.

Great review, TK.

Posted by: tt_marie at October 1, 2008 2:03 PM

This is indeed one of the most twisted films I've ever seen, and I'm glad for this review and the gentle reminder to go rent it again. (Although I doubt I could get any of my housemates to sit through it with me... wusses...)

Hmmm... it's one way to clear a room though...

Posted by: Becky Tri-Tip Goddess at October 1, 2008 2:05 PM

Great work, TK, you do the film and Shakespeare justice.

I've been contending for years that very few Shakespeare adaptations actually capture the macabre essence of Elizabethan tragedy, and I've always felt that Taymor's "Titus" is one of about three truly successful, living renderings of that man's stage/work onscreen.

Posted by: Ranylt at October 1, 2008 2:06 PM

I am also a lover of this movie! Let me just say, it makes for an interesting first date...helps weed out the unworthy.

Posted by: the bees knees at October 1, 2008 2:06 PM

Embarrassingly enough, my friend and I saw this movie in the theatre only because of our mutual crush on Jonathan Rhys Meyers. Imagine our surprise when the film turned out to be amazing. Lange's and Hopkins' performances definitely stand out, but Feore and Lennix hold their own, too. This is definitely a must see movie (that means a lot coming from me, considering I hate the term "must see movie" almost as "pageturner").

Posted by: Lisa at October 1, 2008 2:08 PM

Fantastic film and I highly recommend the rather short source material via Shakespeare. Perhaps the Bard himself thought it all a bloody joke -- I was so glad to see Taymor put that kind of manic glee and affection towards brutality to vibrant use (it's in the small touches, such as Titus' right-hand men trying to outrun each other to have their digits lobbed off, or Hopkins' delightful prancing in the chef's hat while serving the main course).



It should be noted too for anyone who hasn't seen it yet, this film proved intense enough in development to push Hopkins to consider retirement from acting.



Job well done to Taymore and the entire crew for one of the best damned adaptations to hit the screen in two decades.

Posted by: Jesse at October 1, 2008 2:18 PM

It probably speaks volumes about me, but this sounds like it's right up my alley. Totally going to add it to the queue right now.

Posted by: lizzieborden at October 1, 2008 2:19 PM

Ms. or Mr. 44:

There is absolutely nothing wrong with "Moving Violations". But yes, it was James Keach.

Posted by: Jay at October 1, 2008 2:33 PM

I saw this movie because I'd heard of the cannabalism (does that make me weird?) and I thought, Shakespeare wrote this? No way! And in the end, it wasn't the dinner scene that haunted me so much as what happens to poor Lavinia. Amazing that Taymor went from a stunner like this movie to the crap that was "Across the Universe."

Posted by: vitality at October 1, 2008 2:38 PM

heh, Jay - but Stacy Keach was in Titus the sitcom.

Posted by: Anna "Knife Pile" von Beaverplatz at October 1, 2008 2:42 PM

I just saw a stage production of Titus Andronicus in Chicago last year. Fortunately, I had seen this movie so I was prepared for gruesomeness.

Here was the weird twist, the actors in the play were participating in a dinner theater production of Titus. Some of the characters start to take the reenactments very literally and at some point you can't really figure out anymore if they are pretending or actually doing all the acts described in the script. Lavinia either really does get raped and mutilated or does a hell of a job pretending that it just happened and Bassianus certainly believes that it happened. Since Lavinia was Bassianus' date to the dinner party, he flies off the handle. Things get really weird then.

Sorry to write so long. Some plays are so good that you wish they were available on DVD so you could watch them over and over, like Taymor's Titus. I have always found this film to be very disturbing/great and I was shocked into silence when my Shakespearean lit class shot me the "eyes of daggers" when I brought up this movie as a great adaptation.

Posted by: Maples at October 1, 2008 2:57 PM

Titus has to be by far one of my favorite Shakespeare plays because it is so effing insane. Shakespeare never really delves that deep into depravity for the rest of his career.

From what I remember from my college Shakespeare classes, the gore and violence and insanity of Titus was after the pattern of the popular entertainment of the day, i.e. lots of blood and guts. Think Saw for the poofy breeches set. I guess ole Bill had to start his career making crowd pleasers before he moved onto to do more ambitious stuff. His salad days, so to speak.

Posted by: Alabamapink at October 1, 2008 3:00 PM

Titus is a truly awesome film - that I could never watch again.

Posted by: Ginger at October 1, 2008 3:23 PM

Evility is an awesome word, AvB. Incidentally, check out JRM in the BBC adaptation of Gormenghast if you're into the whole sexy evil thing. Which I am. Which is why I love BarbadoSlim.

I have rented this movie more than once, AND gotten it on Netflix once more, only to return it unwatched. I've always seen at as...say...bran cereal. You get it because it's good for you, and other people you respect LOVE it even though it's not very sweet and gets awful soggy in milk (this is the cereal). I know it's good for me! I know it's going to be amazing once I try it...but I am infirm of purpose.

On the one hand - Jonathan Rhys-Myers. Shakespeare. Anthony Hopkins.

On the other hand - 2.5 hours long. Julie Taymor. Unrelenting tragedy.

This review probably means I'll rent it again...after that, who knows.

Posted by: AM at October 1, 2008 3:33 PM

Saw Titus performed a few years back and I absolutely loved it. The players held nothing back and it honestly scared me half to death. It was so good, I'll probably pass on the film. Definately one of Shakespeare's best three and I'll never believe he didn't write it.

Posted by: ThunderSacTriumph at October 1, 2008 3:55 PM

AM
I fucking HATE Across the Universe, and I love this movie. Don't let the Taymor scare you - watch this movie on the biggest screen you can find, because here, her weird Taymor-ness actually works with the source material. It does NOT feel 2.5 hours long.

Posted by: Tammy at October 1, 2008 4:06 PM

...And it was raccoon meat, not human.

Posted by: ThunderSacTriumph at October 1, 2008 4:16 PM

This is a movie I've owned for about 5 years and have never watched. (This happens a lot with me, as I have about 700 movies and often buy movies I want to see but never have the time to...) Thanks for convincing me to put it in my "watch soon" pile.

Posted by: jamiepants at October 1, 2008 4:23 PM

My high school did a production of this, and it freaked everyone out. It was the only show we ever did whose audience grew every night.

This was 12 years ago, and I think if it was done now all the big assed, humorless soccer moms would shut it down and burn all the scripts.

Posted by: Mella at October 1, 2008 4:36 PM

oh, YES! I love this damn movie! It'll get into your brain and stay there and wonder what the hell Shakespeare was on when he wrote it, because DAMN it's fucked up.

I'm a huge Taymor fan--as blah as Frida was, the visuals were breathtaking--so I'm happy to see her getting some love. Great review!

Posted by: figgy at October 1, 2008 4:57 PM

I fraking love this movie! At the same time, I'm finding that it's not aging well for me. It may be time to dust off the old DVD after reading this review, though.

Posted by: Armando at October 1, 2008 5:03 PM

This movie gives me the guilty big pants.

Posted by: firedmyass at October 1, 2008 6:26 PM

What a cast! This review gives me high hopes for Taymor's upcoming The Tempest (one of my faves), but all I can think of is the Reduced Shakespeare version of Titus Androgynous (sounds better spoken) done in the style of a Julia Child cooking show. I might be tainted permanently from that one.

Posted by: Anne (in Reno) at October 1, 2008 7:46 PM

Taymor's directing The Tempest?! That makes me so very happy! Hopefully she'll do the right thing and cast Alan Cumming as Ariel.

Posted by: Lisa at October 1, 2008 8:21 PM

Yes, it was James Keach...and I was referring to the tv show Titus, which was just as creepy and sad....that was the other wrong thing....Moving Violations was the balls.

Posted by: Rubble44 at October 1, 2008 8:24 PM

I saw this movie upon it's release in my home town years ago, in a glorious outdoor cinema at the University of Western Australia. I've never forgotten how beautiful it was, not despite the gore, but because the way it was executed, gore and all. No pun intended. And Jessica Lange as Tamora? Surprising but genius casting. Hopkins is so wonderfully gruesome, I love this film. Smashing review!

Posted by: Rebecca H. at October 1, 2008 9:11 PM

That loud clicking noise is the sound of a thousand Pajibans (including me) adding this to their Netflix queues . . . Thanks for the terrific review.

Posted by: Elfrieda at October 1, 2008 9:38 PM

I was interested in this film when I first knew it would come out. Then it kind of disappeared, and when I had the chance to watch it on cable, it looked like a huge pile of campy shit. Then I just forgot about the movie.

But I believe you all. Thanks for the review and the comments, I'll watch this as soon as I can.

Posted by: JC at October 2, 2008 2:15 AM

Oh man am I excited. I've never seen the film, but I read a brief synopsis of the story and decided that my fiancee and I should go to a live production for our anniversary later this month. We'll be sitting in the front row...I'm hoping for gratuitous fake blood splatter! Nothing says "I love you, happy anniversary!" like watching people get grotesquely mutilated, right? RIGHT?!

Posted by: Amber at October 2, 2008 4:20 AM

MG - I made the EXACT same mistake with "The Cook, The Thief, His Wife and Her Lover"! And I'm going to force that mistake on my husband with this movie just as soon as I get the chance! Wheeeeeee!

Posted by: Grandma Ben at October 2, 2008 10:23 AM

All I remember from Titus was the colors, vivid and eye catching. I was 17 when I saw this movie and I was intrigued and disgusted by all the violence. Thanks TK, I'm gonna rent it again.

Funnily enough, my father rented this because he thought Anthony Hopkins would eat someone again, but half way through, before the rape, he was snoring in his favorite chair.

Posted by: carrie at October 2, 2008 11:26 AM

What a magnificent review, TK. I was interested in seeing this when it came out, so I could claim SOME interest in Shakespeare's work, but never did see it. I'll try to rent this tonight.

Posted by: AmbroseKalifornia at October 2, 2008 2:54 PM

Oh, it's SO good to read this review! I have loved this film since I saw it on the big screen the week it premiered. Haven't watched it since, but still love it so. I recommend it often, although (maybe not surprisingly, after I describe how very brutally beautiful it all is) no one takes my advice. It seems to me that it would be best on the largest screen possible, so I haven't rented it, but I may have to now, just to revel in the amazing performances, and re-experience the terrible beauty that Julie Taymor created.

Posted by: Lamoshe at October 2, 2008 3:23 PM

Really?

My college's Shakespeare Society watched this for our evening of heckling.
John Rhys Myers is AWFUL in this film. Somehow, in a role built on excess and wildness, he manages to overdo it.
Anthony Hopkins actually goes "Om nom nom nom" at one point.
There is a carnival type scene involving a ten year old boy in drag.

And you thought this was GOOD?

Posted by: Kevin at October 2, 2008 6:13 PM

Well, if your college Shakespeare Society hated it... my gosh!

Posted by: I Love Beets at October 2, 2008 6:26 PM

You need to read more, my dear. Tamora is NOT the toughest, juiciest bitch in theatre. There are plenty tougher and juicier than she. To begin your journey into female theatrical bad-assery, I suggest you pick up Euripedes' Medea.

Posted by: To Tammy: at October 7, 2008 7:39 PM