Maxwell Roth As The Epitomy Of The Victorian Extravaganza

Although not a prominent antagonist in the game's story as a whole, Maxwell Roth is a very important supporting character in Assassin's Creed Syndicate, as he plays a major and determinant role in the evolution of its main protagonist, Jacob Frye. Roth is officially introduced in the penultimate sequence of the game, after having made his presence well-known much earlier via a dinner invitation that he sent to Jacob and after having been mentioned a few times during the story, due to him being the leader of the Blighters, the gang that controls the boroughs of London, operating under the orders of Crawford Starrick, the Grand Master of the local Templar Order.

Maxwell Roth in his first appearance

Roth makes quite an entrance in the story, inviting Jacob to meet him at the Alhambra Music Hall, his luxurious and extravagant-looking theater on Leicester Square. In spite of assuring Evie that he will not be accepting Roth's invitation, Jacob of course goes to the Alhambra, in the memory Strange Bedfellows. The title of the mission is more than indicative of Roth's intentions, as well as a foreshadow of what could possibly follow. As the main entrance is locked, Jacob enters through the backdoor (and I guess the connotations are intentional here), but not before talking to Lewis, Roths's right hand, who is standing stoically at the entrance with all the bitterness of the world on his face. Inside, the theater is majestic and lavish; the red color dominates - a symbolism that alludes to the trademark color of the Blighters, but also is associated with blood and passion. Roth appears as a tall man with the slim figure of a dancer and piercing light blue eyes, who obviously had been quite charming in his youth, but now the right half of his face is disfigured due to a big and very deep scar that runs from the side of his eye to the edge of his chin. However this does not make him look less attractive, on the contrary, as it probably had been acquired during criminal activities, it is there as a permanent mark of heroism, something that highlights his very obvious desire to always be in the spotlight. Roth seems to be in his element in the Alhambra. Serving as a cover for his illegal and criminal operations, the theater is still used by him to present popular performances, like musicals, magic acts by illusionists, theatrical plays and acrobatic acts. Theatricality, as himself says, is his specialty anyway; he admits to Jacob during one of their encounters later that he loves producing good plays and always enjoys the applaud and the praising reviews that follow. 

 

Roth and Jacob starting their brief alliance

 

Roth describes the story of his life in a colorful way, claiming that his real name was Oberon and that his parents were part of a traveling theater group. Growing in such an environment, young "Oberon" learned to sing, dance and act, soon revealing his talent in arts as well as in enchanting the crowds. Life's struggles, however, forced the family to turn to crime, gradually giving fewer and fewer performances until they eventually stopped completely. After his parents moved to London with him, they had no other choice than to live on the streets. "Oberon" put up with this kind of living for a while because there was nothing else he could do, but at some point, having had enough, he named himself Maxwell Roth and joined a circus. There, after a brief time of apprenticeship, he proved to be a gifted acrobat and a skilled boxer. When this endeavor failed as well, he entered London's criminal circles. Gradually he built his reputation as an extremely strong boxer, but because he also happened to be highly intelligent, he managed to expand his activities and soon became a most influential figure in the city's underworld. After having established himself as the leader of the notorious Blighters, he caught the attention of Crawford Starrick, who hired him to train his gang leaders. Many times, Starrick and his Templars would also make use of the Blighters' services to carry out their illegal operations. Thanks to these developments, Roth gained a lot of money, and his wealth allowed him to buy an abandoned theater in The Strand which became The Alhambra Music Hall, his pride and joy. A rather fiction-like life story, which could very well have been conceived by Charles Dickens for one of his epic novels; but it still fits Maxwell Roth's theatrical persona like a glove. Even his "real" name, Oberon, has Shakespearean connotations, something that could hint that part of the tale he likes to narrate about his life is just a fantasy; or at least a fantasized and much more fascinating version of real events from his past. The Alhambra, with all its luxury and lavish decorations, is the absolute manifestation of his larger-than-life personality, which in turn reflects the most extravagant Victorian lifestyle.

 

Roth's Alhambra, complete with its dome and obelisks

 

The theater itself has its own historical references, that fully represent the excessive style of that era: it was a real-life theater that did exist during the Victorian times opposite Leicester Square. Built originally in 1854 as the Royal Panopticon of Science and Arts, it was originally made for the purpose of showcasing fine arts and demonstrations of scientific nature. After operating as such for two years, it was closed down and reopened again in 1858 as the Alhambra Theater of Variety, now with the addition of a circus ring. It was an impressively tall building in the style of Moorish palaces, with excessive decoration and rich architectural details, with its overall lavish appearance coming to complete contrast with all constructions around it. An interesting trivium is that the name of the architect who completed the building was T. Hayter Lewis, to whom Roth's Lewis, revealed to be his ex-lover and now devoted aid, seems to allude.

The real-life Alhambra theater at Leicester Square

The Alhambra Theater of Variety operated as a music hall, showcasing entertaining performances of a grand variety: acrobatics, ballet acts, Can-Can shows, patriotic and comical sketches, operettas and later early films were among its popular presentations. It was demolished in 1936, with more modern buildings taking its place, but had definitely left a mark in the entertainment world of the late Victorian era.

Characteristic programs of the Alhambra's shows

In the late 19th's century society of London, full of contradictions and opposite extremes, the conjunctures that bring Roth and Jacob together paint a vivid picture of that era's conflicting elements: the fascinating culture, the flourishing of the arts, the inconceivable poverty of the lower classes, the eccentricity and hypocrisy of the aristocrats, the developments that followed the industrial revolution, the wealth of the privileged suburbs and the gloominess of the slums. Within this context, Roth's flamboyant and over-the-top persona alludes to a cultural aspect of the Victorian society which, albeit existing underground, still was an integral part of it. Quite unexpectedly for that era which was so conservative and strict, an exuberant gay subculture thrived in the margins of society in spite of all the prohibitions imposed by the state. Molly houses were quite popular, and it was not easy to shut them down because, as is always the case, several esteemed civilians and politicians would secretly frequent them. Theatrical performances would often include acts or sketches that had such nuances, and there are numerous candid photographs of the later Victorian years clearly showing that people would risk to express themselves in ways that would even result in severe punishment if they became known.

A still from the Gilbert & Sullivan play "Patience" (left) and a shot of two men wearing extravagant hats

Maxwell Roth himself looks like a (very) toned down version of Henry Paget, an eccentric British aristocrat known as  "The Dancing Marquess" who was well-known during the last half of the 19th century for his extravagant theatrical performances and his extremely flamboyant way of life. Having inherited both title and fortune from his wealthy family, and wanting to be completely free of all restrictions and obligations, he lived a life of excess, buying expensive jewellery and outrageous outfits and throwing lavish parties where he was the main attraction, dancing and performing in his impressive costumes. He converted the chapel of his family's estate into a theater, where he invited important residents to watch him carry out a variety performances, most of which were quite radical for that time. He even formed a theatrical company and toured around Britain and Europe with it.

Henry Paget in his eccentric theatrical constumes

Visually, Roth may look rather mainstream compared to the people referenced above, but his overall attitude and personality is along the same lines. Roth is not interested in appearing extravagant; he is extravagant in his essence, in his habits, in his lifestyle. Besides being a man of the theater, he is also a gangster - and a very tough and fearsome one; and he is extravagant even in the way he rules his men and in how he deals with problems in his gang business. His extreme views are also part of this: being an amoral and an anarchist, he does not hesitate to sacrifice human lives in order to do what he wants. Although he followed Starrick's orders, he eventually reached a point where he could not stand him anymore. His authoritative attitude made Roth feel like he was a prisoner, because it did not allow him to be as free as wanted, so he formulated a plan in order to weaken Starrick and eventually defeat him. Jacob's bravery in dealing with Starrick's army of Templars and gangsters impressed him; quite possibly he saw something from his own young self in Jacob. Having developed a serious obsession with him overtime, he found the perfect chance to make his acquaintance and form an alliance with him. From his part, Jacob accepted because he found Roth's fascinating life and his freedom of mind not only attractive, but also in accordance to his own indomitable spirit.

 

Roth knows how to keep Jacob on edge

 

In the first mission, Strange Bedfellows, Roth sends Jacob to rid off stacks of explosives that Starrick keeps stored at St Pancras station. But he does not want Jacob to simply steal the explosives; he wants them destroyed in the most loud and impressive way. In the second mission, Triple Theft, he accompanies Jacob at three landmarks of major importance, the sewers under the National Gallery, St James Park and the Scotland Yard, in which places he sends Jacob to kidnap three people who do dirty work for Starrick. Having already declared previously that he values freedom the most, he claims that his motive for making these three people disappear is to liberate them from Starrick's grasp. He is not entirely wrong on this, as it turns out; one of them, an illegal art dealer, fully expresses her disappointment against Starrick's stressing directives. In the third mission, Fun and Games, Roth sends Jacob to blow up one of Starrick's workshops. What all three missions have in common is Roth's pompous and unconventional plans about them, another element that highlights his fiery personality. Roth wants to leave a mark wherever he goes.

Maxwell Roth has his way with words

The most accurate depiction of Roth's extravagant persona as a mirror image of the Victorian era's excessiveness is his show during Jacob's last mission with him, Final Act. This is also the point where his obsession with Jacob has reached its peak, in spite of the abrupt and violent termination of their alliance at the end of Fun and Games. Everything in the theater references Jacob one way or the other; the main act is performed by an illusionist called Corvus the Trickster whose name and appearance on the posters alludes to him as a the leader of the Rooks: "Corvus" means crow, and the poster shows a man with the head of a raven. 

 

The Alhambra on the night of Roth's last performance

 

Roth himself shows up for a moment outside the theater, talking to the usher before putting on a most dramatic accessory: a smiling golden mask, with its top shaped like flames, which in fact hints at the man's twisted plan for his final performance. He will wait for Jacob to arrive and go to him, and then he will set the Alhambra on fire, to make sure he dies in a most unconventional way, taking Jacob with him in the burning theater. In the end he dies by Jacob's hand, something that seems to make him equally happy - if not more. That said, the whole setup of the "final act" and the way the masked Roth secretly watches Jacob as he tries to reach him, alludes to the Phantom of the Opera, taking also the setting into consideration: Roth's Alhambra Music Hall versus the Phantom's Opera House.

 

Roth's mask foreshadows how the night will end

But the most impressive presentation and at the same time the most shocking is the theater's scene where the act is taking place: drowned in a blinding red light, it depicts what looks like a dead forest with skeleton trees and twelve ravens hanging from the rafters above. The ravens, which are most likely dead and stuffed, are there as a macabre tribute to Jacob's "Rook" identity, but they also reference a grim nursery rhyme which carries a chilling symbolism in connection to Roth and Jacob's story.

The compelling setting on the fatal night's stage

 

The nursery rhyme is titled Counting Crows and goes like this: 

One for sorrow,
Two for joy,
Three for a girl,
Four for a boy,
Five for silver,
Six for gold,
Seven for a secret never to be told.
Eight for a wish,
Nine for a kiss,
Ten a surprise you should be careful not to miss,
Eleven for health,
Twelve for wealth,
Thirteen beware it's the devil himself.

Most of the rhyme's lines correspond to stages of Roth's relationship with Jacob: "sorrow" and "joy" are the feelings that connect them, the "boy" is Jacob, the "gold" alludes to Roth's riches and his lavish environment, the "secret never to be told" is his growing obsession with Jacob, the "wish" is his desire to seduce him, the "kiss" is pretty self-explanatory and the "surprise you should be careful not to miss" is of course Roth's special performance, all set for Jacob's eyes only. The rhyme counts twelve crows that match the number on the theater's stage, while the extra thirteenth crow, the devil himself, has a dual interpretation: it could mean Roth who appears after the twelve crows are set on fire, as the rhyme's "Devil", in the flaming red scenery which is like a depiction of Hell; but it could also mean Jacob, the leader of the Rooks / the crows, who was destined to end Roth's life.

Roth takes what he wants until his dying breath

A most dramatic setting, for such an eccentric and extravagant personality, that makes way for Roth's ideal finale. As he exclaims moments before he dies, that night was "the stuff of legends". Definitely one to remember in the afterlife. That, and the kiss he stole from Jacob.

 

Related articles: The Last Rose of England

BIBLIOGRAPHY

https://en.wikipedia.org/wiki/Henry_Paget,_5th_Marquess_of_Anglesey
https://en.wikipedia.org/wiki/Alhambra_Theatre_of_Variety