Romeo + Juliet - Review

Sadler's Wells Theatre, London

*****

Music by Prokofiev

Directed and choreographed by Matthew Bourne

Cordelia Braithwaite and Paris Fitzpatrick

Matthew Bourne’s Romeo + Juliet returns to Sadler’s Wells, reminding London of this brilliant, bloody interpretation of Shakespeare’s classic tale.

Set in the dystopian Verona Institute in the ‘not too distant future’, this is a Romeo + Juliet that sees the Bard’s narrative fused to Prokofiev’s classic score and staged with more than a nod to Lindsay Anderson’s If... Kubrick's A Clockwork Orange and maybe just a hint of Alan Clarke's Scum for good measure.

Bourne’s action never leaves the white tiles of the institution, harshly lit and policed by armed guards. This is a bold and distinctive Romeo + Juliet that where necessary plays fast and loose with the familiar plotlines to enable the narrative to reach its tragic climax while still maintaining the rudiments of the story.

Where everyone bar the guards and Romeo’s patrician parents are clad in white, it’s a challenge for the humble punters to discern the Montagues from the Capulets - but that is but a minor quibble. The flawless standard of Bourne’s New Adventures company’s dance is breathtaking. Their movement so apparently effortless and immaculately drilled, is sensational.

In the pit Brett Morris conducts a scaled down orchestra of 15 players. But as those famous opening bars of Act One play out so magnificently and chillingly, one quickly realises that not only is Prokofiev’s composition in very safe hands, but also how appropriate Bourne’s vision is for the music.

Paris Fitzpatrick and Cordelia Braithwaite dance the leading roles bringing athleticism, passion and a profound vulnerability to their characters. There’s a wickedly fine turn from Danny Reubens’ Tybalt too.

Yet again Lez Brotherston partners with Bourne to deliver a stunningly evocative stage set, complete with a domed ceiling to the Verona Institute that rises and falls like ET's mother ship.

The production values are immaculate throughout, with New Adventures proving a fine example of Arts Council England’s money that is being well spent. And while Matthew Bourne may have teasingly juggled with one of the oldest love stories in the canon, his blood-soaked finale concludes a truly ripping yarn.

Runs until 2nd September

Photo credit: Johan Persson

Romeo and Juliet - Review

Barbican Centre, London



****


Written by William Shakespeare
Directed by Erica Whyman

Karen Fishwick and Bally Gill

Romeo and Juliet arrives at the Barbican as part of the Royal Shakespeare Company’s London residency. Directed by Erica Whyman, Shakespeare’s classic story of love and rivalry is given a contemporary makeover that results in an energetic and urgent adaptation.

Although written over four centuries ago, this production feels chillingly relevant, with members of rival families brandish knives and fight on the streets, the bloody consequences of gang warfare brutally highlighted. The tale of the warring Montagues and Capulets is set in Verona, but it is easy to translate this culture to Sadiq Khan’s contemporary London. And yet, despite the tragedy, there proves a surprising amount of comedy interwoven within the drama and heartbreak that makes for an engaging evening.  

The production’s highlight is the host of standout performances drawn from a talented and diverse cast. Whyman elects to have the Prince of Verona and Mercutio played by women (Beth Cordingly and Charlotte Josephine respectively) and for the most part this works. Though a little over-exaggerated at times, Josephine puts in a fine performance as the spirited Mercutio, who is just as tough and brash as any of the boys and, tragically isn’t afraid to back down from a challenge. 

Elsewhere Andrew French provides a calming presence as Friar Laurence, keen to help the teenage couple but unwittingly setting in motion a wave of calamitous events. Ishia Bennison threatens to steal each scene she’s in as the cheeky, no-nonsense Nurse, a mother figure for Juliet, and at times it feels as if she wouldn’t be out of place in a Victoria Wood sketch, providing most of the comic relief. 

At the heart of the play of course are the star-crossed lovers, played by Bally Gill and Karen Fishwick, exuding chemistry. Gill shines as the lovesick Romeo, trying to keep the peace with his new wife’s family at first, then quick to turn with a dark, underlying temper. Fishwick’s Juliet is endearing, playful and passionate as the teenager struggles with the conflict of her heart’s desire and parental pressures, and it very much becomes her play. Though she is a joy to watch throughout, it is a particularly unnerving scene between Juliet and her bullying father, played by Michael Hodgson, as both actors thrillingly convince. 

Tom Piper’s minimalist urban design, centred by a rotating cube, takes some getting used to but is surprisingly versatile. There is a poignancy in it providing both the setting for Romeo and Juliet’s marital bed and their final resting place. Sophie Cotton’s music highlights the contemporary feel and boundless energy of the play, notably during the Capulets’ masked ball, now a rave. 

While the play isn’t perfect – the opening scene feels out of place, the production drags at times and purists may wish to look away – it is undoubtably a fresh and accessible take on an age-old tale. And much like Baz Luhrmann’s 1996 movie, this inspiring, compelling and youthful adaptation is sure to open Shakespeare’s most famous love story to new audiences.

Runs until 19th January 2019

Reviewed by Kirsty Herrington

Photo credit: Topher McGrillis

Romeo and Juliet - Review

Union Theatre, London

*

Written by William Shakespeare

Dramaturg and adaptor - Joe Mackenzie

Directed by Andy Bewley

The Union's current offering finds us watching the star crossed lovers here played as two gay teenage boys who belong to rival youth football teams, respectively the Capulets and Montagues. This blog has long argued that one needs to be a genius to try and successfully improve or innovate upon the Bard's work - and there's little sign of such inspired creative talent in this latest iteration.

There could have been some potential here. Both football and the (thankfully dwindling) hooligan aspect of its culture are famously and toxically homophobic. Sadly however, what could have been an imaginative and bold new telling of the beloved script is entirely trashed. 

Andy Bewley’s direction is confused with one never being quite sure if the focus is on the fabled yarn or upon homophobia, or simply just the sport itself.  Admittedly, despite the fact that the soccer aspect of the show adds absolutely nothing of significance to the adapted love story, the few and far between moments of onstage football movement by Sam Perry (Juliet) and Abram Rooney (Romeo) do impress. 

The music, composed by Laurence Morgan is unnecessary. Why this production was designed to be actor-muso is never explained, while the sound design adds nothing to the production, except for a few head tilting moments of confusion as to why members of the ensemble enter on stage at any given time, playing gleaming, pristine instruments… badly.

The acting is honestly mediocre. There are a small number of hard hitting performances including Gabrielle Nellis-Pain as the Nurse (or Physiotherapist in this production) whose performance is charming and adds a warmth to the otherwise dismal goings on.

And Henri Merriam here playing the female Friar Lawrence, who notwithstanding the beautiful and emotional portrayal of her material, is shown here as a slightly dodgy groundskeeper,  who provides the 17 year olds with overly strong Rohypnol...

The direction and adapted script fails to find the importance and gravitas behind the root of the passion which brings the young lovers romance to fruition. Beautiful moments of poetry and art initially written in Shakespeare’s words are diminished and somewhat insulted by cheap quips and the hope of a quick laugh.

It is surprising that this production has been backed so passionately by the Union, which can provide (and has provided) much finer work than this in the past.  Rarely has the tragedy of Romeo and Juliet been so tragic.

Runs until May 20th

Reviewed by Charlotte Darcy