‘TITUS’: NO GREAT SHAKES(PEARE)

The Shakespeare Society’s “Titus Andronicus,” at the Globe, begins with a brief, silent scene in which two youths play with paper dolls. Later these two join the action on stage in a variety of subordinate roles (one of them is identified in the program as “young Aaron,” when in fact he plays the attendant who carries young Aaron).

Perhaps we’re supposed to see the play as a fantasy dreamed up by this juvenile duo--and indeed, “Titus” is almost as violent and silly as the slasher movies aimed at today’s teen market.

But director Kevin Carr hasn’t taken the idea far enough. The opening scene is so undeveloped that it’s hard to tell what it’s supposed to signify. Though the characters wield toy swords--another indication that it’s all child’s play--most of Valentine Hooven’s costumes add nothing to this notion (a possible exception is the Melrose-inspired outfit on Aaron).

Some of the actors (Lee Armstrong, who plays Bassianus and also--in drag--a nurse, and Lindy Nisbet’s snarling Tamora) appear to be in on the joke, or the concept, or whatever it is. Others (most important, Elias Zarou as Titus) are not, and Hubert Baron Kelly’s Aaron seems to be enjoying his own private joke. Finally, a few of the actors simply can’t speak Shakespeare (Richard Burns and Earll Kingston as Lucius and Marcus, respectively).

It all adds up to an unsatisfying hodgepodge--not funny enough for burlesque, not sobering enough for tragedy. Performances are at 1107 N. Kings Road, in repertory with “The Puritan”; (213) 654-5623.