The success of the Brook production seems to have provided an impetus for directors to tackle the play, and ever since 1955, there has been a steady stream of performances on the English and American stages. After Brook, the next major production came in 1967, when Douglas Seale directed an extremely graphic and realistic presentation at the Centre Stage in Baltimore with costumes that recalled the various combatants in World War II. Seale's production employed a strong sense of theatrical realism to make parallels between the contemporary period and that of "Titus", and thus comment on the universality of violence and revenge. Seale set the play in the 1940s and made pointed parallels with concentration camps, the massacre at Katyn, the Nuremberg Rallies and the Hiroshima and Nagasaki bombings. Saturninus was based on Benito Mussolini and all his followers dressed entirely in black; Titus was modelled after a Prussian Army officer; the Andronici wore Nazi insignia and the Goths at the end of the play were dressed in Allied Forces uniforms; the murders in the last scene are all carried out by gunfire, and at the end of the play swastikas rained down onto the stage. The play received mixed reviews with many critics wondering why Seale had chosen to associate the Andronici with Nazism, arguing that it created a mixed metaphor.