Type – Shakespeare, Bell Shakespeare Theatre Company
If you liked – A Midsummer Night’s Dream, Twelfth Night, Much Ado About Nothing
ROMEO AND JULIET: This fast-paced and minimalist production of the world’s saddest love story is a winner Shakespeare fans and a challenge for those new to the language.
The story of Romeo and Juliet is so well known, there is little chance of spoilers in this review. But despite the recognisable plot, Bell Shakespeare’s travelling production of this much-loved play succeeds in making us weep anew at the fate of the doomed lovers.
The love between Romeo and Juliet is thwarted by family feuds, poisons and potions, letters never delivered, and the impulsive and risky actions of many of the characters. The brief four-day timeline of the story speaks to the intensity of youth and young love, when everything is new and urgent. Men are quick to fight and lovers are quick to love; death and grief are the outcomes of these rash behaviours.
A fresh perspective
Director Peter Evans (Bell Shakespeare’s Artistic Director) has cast a diverse troupe of actors with little concern for their gender, age or ethnicity matching the characters they play. It is very much an ensemble piece rather than a vehicle for the two eponymous roles, and the contemporary, black costumes worn in various combinations by all the cast add to this ensemble effect.
Madeline Li and Ryan Hodson are accomplished as Juliet and Romeo, but the standouts for me were Merridy Eastman as the Nurse (who admittedly gets the funniest lines) and Brittany Santariga, who plays both Mercutio and the Prince.
While the language of the play is its strength, it can also be challenging for those not familiar with Shakespeare. Many will have been introduced to Romeo and Juliet through director Baz Lurnmann’s spectacular film version, which brought expensive and expansive sets and music to the play. The Bell Shakespeare production of Romeo and Juliet is all about the language – the ideas, the beauty and the imagery of it – in keeping with the company’s mission to find modern perspectives on Shakespeare’s timeless work.
Pared back and intimate staging
The main exception to the pared back set and costume design by Anna Tregloan is the beautifully choreographed splash of medieval pageantry at the Capulet’s masked ball, where Romeo first meets Juliet. There is also some choreographed action in the sword and dagger fights that leave a considerable body count by the end of the play.
Max Lyandvert sound design and composition is focused on nuance and atmosphere – keeping the attention on the players and their dialogue, while building up the emotional atmosphere. The same goes for Benjamin Cisterne lighting design, except for the odd playful splash, such as when as Romeo utters the iconic line, “What light through yonder window breaks”.
There is plenty of comedy and sexual banter in the first half of Romeo and Juliet, which provides a welcome contrast to the sad events, but I found this to be less effective than it could have been. It wasn’t until after intermission as the mood darkened, that the depth of the work shone through and it really began to sink into what I was seeing and hearing.
Is ROMEO AND JULIET Worth Seeing in SYDNEY?
Bell Shakespeare’s production of Romeo and Juliet is brimming with talent and will appeal to lovers of Shakespeare and to newcomers prepared for the challenge of the language; for others, the fast-paced dialogue will be hard to penetrate. The minimalist touring production has arrived at Sydney Opera House for its’ final stop of in the 26-venue tour, presenting high drama, dynamic fight sequences, and engaging, intimate and passionate performances of this tale as old as time.
Tickets and Practical Info for ROMEO AND JULIET in SYDNEY 🎟️
By William Shakespeare
Director Peter Evans
Set and Costume Designer Anna Tregloan
Lighting Designer Benjamin Cisterne
Composer and Sound Designer Max Lyandvert
With Madeline Li, Merridy Eastman, Jack Halabi, Ryan Hodson, Khisraw Jones-Shukoor, Tom Matthews, Brittany Santariga, James Thomasson, Micahel Wahr and Adina Wirasti.
Tickets: $35-136
Playing at Sydney Opera House until 7 December
