The highly acclaimed Tang Shu-wing Theatre Studio from Hong Kong will perform its ground-breaking version of Shakespeare’s “Titus Andronicus” on Friday 4 (7.30pm) and Saturday 5 (2.30pm & 7.30pm) August at the New Diorama Theatre, 15-16 Triton St, Regent’s Park, London NW1 3BF.

Created in 2009 in Hong Kong, Titus Andronicus 2.0 is a bold and revolutionary attempt to explore the unreleased potentials of Shakespeare’s play by rewriting it into a narrative and physicalising the act of story-telling in various non-representational ways.

Focusing on the very essence of theatre – bringing actors before spectators – with just a bare stage, live music, seven chairs and seven actor-narrators who switch between narrating the action and embodying the characters with intense physicality, Titus Andronicus 2.0 leads audiences through the black hole of the human psyche into a world of primal energy, boundless imagination, self-reflection, self-discovery and cathartic peace. It is an adventure for possibilities of theatre through a journey to the source, returning to the origin of both Eastern and Western theatre in which stories were told and performed.

Titus Andronicus 2.0 is directed by Tang Shu-wing, world-class director, renowned theatre educator and veteran actor, and former Dean of the School of Drama at the Hong Kong Academy for Performing Arts. The main cast includes Andy Ng, Eric Tang, Masu Wong, Leung Ka-wai, Chu Pak-hong, Lai Yuk-ching and Ivy Pang. The play was taken on tour to six cities in Europe and Asia after its premiere in Hong Kong in 2009. It was very warmly received at the World Shakespeare’s Festival at the Globe Theatre in 2012. Londoners are able to see it again on its European tour this year as part of celebrations of the 20^th anniversary of Hong Kong’s return to China. It is performed in Cantonese with English surtitles.

A question and answer opportunity for the cast and the audience will follow each of the three performances in London.  It is suitable for ages 12 or above.

“The entire audience is led to the inner world of the text by a powerful eddy of narration and physical acting” Cup Magazine, (Hong Kong)

“Tang’s minimalist approach works beautifully for a maximalist play… Less is really more”
The Strait Times, (Singapore)

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