STAGE REVIEW: Titus Andronicus - at the Royal Shakespeare Theatre, Stratford-upon-Avon, until September 2, 2017.

ROWDY mobs on the rampage with hoodies in their midst, junkies, professional political agitators and protesters too, all trying to storm Rome’s seat of government, and the police doing their best to keep in check what was remarkably reminiscent of the so-called Day of Rage the ‘Far Left’ attempted to organise and inflict on the capital here!

All that was missing was a walk-on part for our Jezza and his acolytes…

After enduring a full 15 minutes of this cacophony of noise and little else as it portrayed some of the elements that besmirch parts of our society today the sight of cast members climbing security fencing, using mobile phones, cycling away from the law and racing back and forth across the stage gradually subsided.

Was this really Titus Andronicus - a play of treachery, treason, bluff and double-bluff, and horrific revenge?

Eventually and thankfully we do get Shakespeare’s blood-fest, the goriest of all his plays, but director Blanche McIntyre has it strangely wed to the height of today’s fashion world often witnessed at Wimbledon or Royal Ascot.

Not a toga in sight, nor a Legionnaire in battle dress…

But as a further sop to current trends service personnel - some in desert battle dress - bore pistols and rifles to take out the plotters and rapists that litter this brutal play. And there was even the irritating mobile phone ‘selfie’ with alleged celebrities.

A touch too much gimmickry in this latest of the RSC’s Rome season - even Titus on stage in a huge cardboard box.

However, all wasn’t lost as David Troughton, in the lead role, delivers a highly commendable performance. It’s one of considerable strength and style which draws several other fine performances from those around him.

Others who most definitely catch the eye are Hannah Morris, who earns our fullest sympathies as Titus’ despoiled and mutilated daughter Lavinia, Nia Gwynne’s power-crazed Queen of the Goths, Tamora - although a more ruthless streak wouldn’t have gone amiss, and then there’s Stefan Adegbola, the villainous Moor Aaron, who is Tamora’s lover.

One note of caution! If you should be a little squeamish make sure of a seat near an exit or have a suitable sick bag in handbag or pocket.

Some of the deaths are not for the faint-hearted and you may never look at a large crusty meat pie in the same way again!

There’s stabbings, throat slitting, hacking and even shootings - which doesn’t really sit squarely with such times in ancient Rome.

Titus is one of the Bard’s works which has had its critics over the centuries - liked and disliked it would seem in almost equal number.

Spread across just over three hours, including an interval, this version is certainly a mixed goodie bag which Weights and Measures might like to check.

McIntyre has clearly set out to make it a play for today. Bits work and, like various parts of the body count we witness - which took us eventually into the mid-teens, bits also drop off this modern-take.