Vincent Pricewas one of the most prolific horror stars of his day. That distinctive vocal timbre, not to mention his lanky height, trademark mustache, and cheekbones higher than a ruffled Victorian neckline, rendered him instantly recognizable. Yet despite that unmistakable demeanor and the typecasting it incurred,Price was a chameleon— which might surprise those less familiar with his early work as a character actor. Between a back catalog consisting ofminor supporting roles, and the fact the man eagerly embraced his horror niche,Price’s capacity for subtler work often goes overlooked.
At first glance, 1973’sTheatre of Bloodfollows a similarly over-the-top track. The grim, gore-filled horror-comedy about a stage actor seeking revenge against the critics who tore apart his life’s work fitsPrice’s personalike a glove: low budget and splendidly unhinged. In actuality, it’s one of the best entries in his expansive but unfairly repetitive filmography. Not only areTheatre of Blood’s clever slasher kills a precursor toSaw, Pricecalled itone of his favorite movies because it finallylet him achieve a career goal: performing Shakespeare.
What Is ‘Theatre of Blood’ About?
Before his downfall, Edward Lionheart (Price) was the bane of England’s theatre community. For 30 years, the American actor refused to perform anything except William Shakespeare, and never received less than ascathing reviewduring his tenure. His rampant arrogance finally crumbled after the London Critics’ Circle unanimously snubbed him for their yearly award, voting for a “mumbling” newcomer over a seasoned and self-proclaimed “genius.” Humiliated by their implacable scorn, Lionheart flung himself into the River Thames.
Years after his assumed death, a much-alive Lionheart — pulled from the water by strangers before he could drown — returns to claim his just rewards: the Critics' Circle statue, and the lives of the nine critics. He targets them one-by-one with the help of his devoted daughter, Edwina (the luminous DameDiana Rigg),modelingeach murder after a death scenefrom one of Shakepeare’s plays. These include a group stabbing (Julius Caesar), decapitation (Cymbeline), electrocution via the world’s deadliest hair salon (Henry VI, Part 1), and a scenario especially stomach-churning for dog lovers (Titus Andronicus).
Vincent Price’s ‘Theatre of Blood’ Performance Is More Complex Than It Seems
Although a bleakly hilarious concept,Theatre of Blood’s skewering never veers into full farce thanks to directorDouglas Hickox’s measured grip over the mood andAnthony Greville-Bell’s insightful, wry script. The pair could have sold this feature without aheadliner as prominent as Price, but no one could have played Lionheart quite as nimbly or enthusiastically. It’s a tricky part,the premise requiring Price to cycle between various characters, both original inventions and those from Shakespeare’s pages. As Lionheart recites some of themost famous (and famously dense) monologuesever written at his petrified victims, he dons disguise after elaborate disguise (wigs, masks, Medieval cloaks, ’70s disco fashion) complete with an array of specialized props.
Vincent Price Gave Us ‘The Fall of the House of Usher’ Way Before Mike Flanagan
“And the deep and dank tarn closed sullenly and silently over the fragments of the House of Usher.”
No matter the get-up, Price personalizes each variation with details — be they horrendous accents, wicked sneering, or askein of flirtacious menace. Already a presence born for melodrama, Price is having the time of his life.Theatre of Bloodfeels like a template designed to champion his strengths, and he turns Lionheart’s morbid hunt into a symphony of melodious recitations. Every word feels poured with precision. Consonants are enunciated like throwing knives, and he delivers gloating facial expressions and physical comedy with a dancer’s graceful timing.
‘Theatre of Blood’ Lets Vincent Price Show His Range
Although adapting to each set piece gives Price an excuse to attack the script with gusto,Theatre of Bloodalso lets him tap into the benefits of his own theatre background — specifically,his underutilized penchant for nuance. Lionheart’s vengeance might include copious self-pity, but during the rare moments when he strips away the thespian pomp-and-circumstance enough to reveal the person underneath, there’sthe wounded pride and seething pathos of a tortured artist. Few things are more vulnerable than a creator who pours their heart, soul, and youth into their passion — and one cleverly disdainful response can cleave deeper than a sword. Egomania aside, Lionheart has endured a mortal wound delivered death-by-a-thousand-cuts style. Price balancesicy vindictiveness with pensive grief— even if Lionheart can’t help butmake his exitunnecessarily dramatic.
When Diana Rigg reminisced about Price for his daughter’s biography of her father,Rigg stated: “What people […] tend to forget because of his horror movies, is what a great classical actor he would have been. Listening to him deliver some of those Shakespearean speeches, I remember thinking, ‘God, what a missed opportunity.’” Price kept working for 20 years afterTheatre of Blood, but few films letthe charming master of macabrebe so free.
Theatre of Bloodis available to stream on Tubi in the U.S.
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Theatre of Blood
