By Karyn Lee Greig,
Having seen numerous productions of Shakespeare’s Romeo & Juliet over decades, I find myself having to lower my expectations. Not since drama school have a I seen a version where I’ve believed that the two protagonists are actually in love. Their passionate young love and untimely deaths are the tragedy of the play. Too often the acting skills required to play the characters of Romeo and Juliet are underestimated and under-valued.
One of the strengths of Melbourne Shakespeare Company productions is its highly creative use of music and song to highlight key events in Shakespeare’s plays. Here there are songs such as Eye of the Tiger (by Survivor) as Romeo and his friends brashly attend the Capulet party, Romeo’s solo Everything I Own (by Bread) as Romeo expresses his longing for Juliet. The show finishes with a poignant version of We Found Love (in a hopeless place) by Rihanna. All are sung unplugged, in beautiful harmony, ably accompanied by performers. Credit must go to Natalia Calia for her inspiring musical direction. Lovely choreography accompanies the songs and the direction by Emma Austin is effective, using the leafy performance space to advantage.
This is an ensemble production, where most of the characters get a good showing, to the point of eclipsing the protagonists. Amanda McKay as the Nurse stands out with her resonant voice, diction, accent and comic timing. Similarly, Karlis Zaid brings Friar Laurence to the fore, due to the clarity and nuance of his interpretation. John Voce as Capulet impresses for the same reasons. I heard lines from all three characters that I hadn’t heard before because of their excellent interpretation and vocal delivery. John Vizcay-Wilson is charismatic as Mercutio, and he does the best Queen Mab speech I have seen – clear as crystal. I wanted to see more of him. Other characters deserving mention are Asher Griffith-Jones as the wholly unappealing Paris and Nabs Adnan as the henpecked Peter.
The costumes by Leah Fitzgerald-Quinn both define the two opposing families and unite Romeo and Juliet through their purple-themed costumes. However, some small costume adjustments would have helped to establish events in the narrative. For example, Juliet wears a nightgown to consummate her marriage with Romeo, whereas Romeo does not even take off his purple jacket. That the production is set in 1940s post-war Vienna is irrelevant to the music and action and completely lost on me. The set design by Silvia Shao fulfils requirements but the large, damaged structure at the rear is baffling, as it is not used or referred to at any time in the play.
There are times where the editing of the play works in its favour such as that for the Nurse, however there are some edits which detract such as the lack of established relationship between Romeo and his mates. This is almost completely removed. We need to see the mischievous leader-fighter that is ‘larrikin’ Romeo in order to appreciate the lovesick Romeo. We end up with only the lovesick Romeo and consequently a weak humourless Romeo who isn’t a match for this stronger, predictably 21st century Juliet. Marlena Thomson as Juliet and Oliver Tapp as Romeo acquit themselves admirably as the protagonists but their job is made difficult. Thomson is an appealing Juliet but ultimately, I believe Oliver Tapp is miscast.
There are many great things about this production. We, as audience, are engrossed for the full 90 minutes. I noticed a father and his 7’ish year-old daughter watching from the back – they were mesmerised. This is a highly imaginative rendition of this timeless play and great for families.
Image:Sare Clarke Photography.
