The Upstage Interview: Aaron George, Ace Lopes (Titus Andronicus)

There are arguments that Shakespeare isn’t relevant any more but judging by the reaction of students when we bring shows to schools whether elementary or high school, indications are Shakespeare is still relevant.

Upstage Host Eric Sukhu spoke with Director Aaron George and Executive Producer Ace Lopes about The Montreal Shakespeare Theatre Company’s production of Titus Andronicus.Below is an abridged version of interview edited by Estelle Rosen, CharPo Editor-in-chief.

UPSTAGE

Is this the first time Titus Andronicus is being presented in English in Montreal?

GEORGE/LOPES

As far as we know, it is. Saw it in French a few years ago but in the 10 years we’ve been around, never saw it presented here in English.

UPSTAGE

One of Shakespeare’s lesser known plays. How come?

GEORGE/LOPES

Because it’s so brutal,  and also hard to produce. 

Interesting too is the lack of humanity in the play.  Essentially, the theme is how we treat one another.

UPSTAGE

Why did you decide to put it  on then?

GEORGE/LOPES

We started to conceptualize it a few years ago. But we needed more time and experience. We had a couple good years with our school tours so decided to go ahead and take this dive.  Challenging but a lot of fun to do. 

UPSTAGE

Tell us a bit about the play.

GEORGE/LOPES

Titus Andronicus - Roman general - returns from ten years of war bringing home prisoners.

When they first get there the Roman Gods require a sacrifice so they kill the Queen’s eldest son. From that time on it becomes a revenge cycle, basically the Queen getting revenge on him and  him taking it back. It’s really about how revenge has no end. The deeper you get into it the worse it is.

Interesting too is the lack of humanity in the play.  Essentially, the theme is how we treat one another.

UPSTAGE

You have a large cast; what was the staging process like?

GEORGE/LOPES

Immense challenges but benefits far outweigh it.  With a large cast you can picture everything you want. 

Of course that many cast members bring its own problems. Wrangling. Scheduling nightmare. 

We wanted a large cast because we wanted to put into force our concept of the show. We want you to be immersed in the world of Ancient Rome from the moment you arrive. 

We had so many good people auditioning we tried as much as possible to give them as much work as possible.

UPSTAGE

Did you consider doubling up roles?

GEORGE/LOPES

In our touring school program that’s what we have to do. But this is an interesting opportunity. We had so many good people auditioning we tried as much as possible to give them as much work as possible.

There are arguments that Shakespeare isn’t relevant any more but judging by the reaction of students when we bring shows to schools whether elementary or high school, indications are Shakespeare is still relevant. We do modern adaptations for schools. Recently Twelfth Night Arabian style, Othello vampire style. 

UPSTAGE

Ace you’re both Executive Producer and Musical Director?

LOPES

I have been Musical Director for this company from the beginning. I wrote the music for the Cobra musical shows.

In this one it took some convincing but eventually agreed to write and perform music in the show. I complement music with Amy Blackmore’s choreography. 

UPSTAGE

Financing must be difficult with such a large cast; did you do a fundraiser?

GEORGE/LOPES

No, for this one we used the money we get paid  from school tours to cover. Of course we had to additionally invest our own money. 

We want this to be an experience, not just a play.  When you leave the theatre, we don’t want you to think that was a good play.  We want you thinking   wow! We’ve added a lot of staging elements that will have people talking about it when they leave.

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