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“Henry V vs Titus Andronicus

I am no judge of language or poetry, and so it comes down to plot and societal relevance: the contest here is ultimately one of fantasy vs reality.

While the exhortation of the St Crispin’s Day speech, in Henry V, speaks to us on the level of what we would hope to be, the reality is that most of us would not rise to that occasion – it is a fantasy of human nature; and In an era of unspeakable cruelty both at home (immigration) and abroad (ISIS; well, and so many other places), Titus, sadly, reveals to us the true darkness to which we so easily go.

Yes, Titus is the work of nihilistic youth, of a young Shakespeare, working within the modality of the Jacobean revenge play; yet its visceral punch is similar to Brecht in his youth – In The Jungle of the Cities and Baal - and just as revealing of the heart of darkness within our souls: so do not let the expression of youth blind you to its relevance.

And yes, while Henry V also reveals the contradictions of human nature (and leadership) – his denial of Falstaff, his execution of Bardolph; his slaughtering of the French prisoners, for example – Shakespeare unconvincingly attempts redemption of Henry through the #MeToo wooing of Anne (ultimately all for nought as Shakespeare relates in the epilogue); Titus, on the other hand, stands as a direct and explicit expression of today’s darker human impulses – and we should not be allowed to avoid the implications.

Titus Andronicus wins by “one length”.”

“Macbeth vs Cymbeline

Thwarted lovers, banishment, and their seeming deaths; stolen sons, royally born, unaware of their heritage; a lady’s honor falsely besmirched; an evil queen, scheming for the throne for her unworthy son; a prophesy, ghosts of parents and brothers, a god’s visit; reversals, and reunions, and an epic battle – These are the ingredients that make Cymbeline a Sunday matinee adventure/romp in the vein of Star Wars, or perhaps The Princess Bride. While there are moments of tension, you never really fear for Imogene and Leonatus, nor worry that Cloten – so aptly named – and his mother the queen will escape their just desserts. Pass the popcorn.

But Macbeth is like a slow-motion train wreck, each moment vivid, searing, horrible and inevitable. Despite one of the best comedic interludes ever – the Porter scene – the action is unrelenting.

Is there a more bone-chilling, cold-blooded moment in the canon than the murder of McDuff’s wife and children?
Is there any other play that theater people dare not speak its name?
Is there any other story so steeped in blood-ritual that it seems almost inevitable that Akira Kurosawa should retell it in one of the greatest-of-all-time samurai movies?
Throne of Blood, indeed!

In this contest of Scots vs Brits, Macbeth takes and – at least this once – keeps the throne.”