Romeo and Juliet

Directed by Kip Williams for the STC, this is a striking and unusual version of Shakespeare’s familiar tale of ‘star crossed’ lovers, lead by Eryn Jean Norvill and Dylan Young and perfect viewing for all young lovers, or those young at heart.

The cast is reduced to ten in number, and there are some cuts, conflation and abridgement; it is updated to a contemporary setting and the predominantly younger audience (roughly under 35-ish) absolutely loved it.

There is no Duke of Verona shown (although he is mentioned) and the age old duelling and crisis between the two warring houses, while certainly important, is not emphasised. There is no Lady Tybalt either, nor Peter or Friar John, among others. Nor do we meet Romeo’s parents. The production concentrates far more on Romeo and Juliet themselves. Speech patterns and rhythms are of today.

In this breathless, fast paced production the generation gap is highlighted – parents don’t understand! – and when love hits, it hits powerfully and for real. 

Here, Juliet opens and closes the show (with a very tense twist at the end) to great dramatic effect. It is her show; she is the driving force of the narrative come what may. Beautiful Eryn Jean Norvill possibly seems more about 18 rather than the sweet, innocent 14 as indicated in the text, but gives a luminous, enchanting performance. In the ballroom scene she is dizzy with the delight of falling in love; later we see how she faces unexpected responsibilities and events that spiral out of control. The ‘gallop apace you fiery steeds’ speech was tremendously done and the wedding night beautifully, tastefully shown. Juliet knows what she wants and goes and gets it. Romeo becomes her world, but then it tragically implodes…    

Our hero Romeo was marvellously played by Dylan Young. Passionate and impetuous, everything changes in an instant when he espies Juliet at the ball. The glorious poetry he speaks seems to flow naturally. He is indeed, unfortunately, ‘fortunes fool’ when things go catastrophically wrong. Our star-crossed lovers are an excellently well-matched pair who light up the stage together in two glorious performances.  

Lady Capulet, Juliet’s mother (Anna Lise Phillips) is here presented as a trophy wife; a tall blonde plastic Barbie doll teetering on high heels. She has an incredible, Evita-like entrance in an astonishing haute couture, over the top, feathery pink evening gown. She is cold, shrill, a busy socialite who expects Juliet to know her place and behave. 

It is not every day in a production of Romeo and Juliet that you see a hot and sweaty Lord Capulet playing a game of squash with Paris, but that is how we first glimpse Colin Moody as Juliet’s father. He is all power and politics, very concerned with the family name; he dominates and controls Juliet’s life. He has a scary, volcanic temper when Juliet defies him by refusing to marry Paris – this production concentrates on the fight between father and daughter.   

Paris (Alexander England) is shown as a young, rich, up and coming nobleman/successful businessman. He is energetic, courteous and gentlemanly, as befits his station, and can’t believe his luck when the marriage with Juliet is arranged. He tries to be a gentle, understanding and loving fiancée. Unfortunately it doesn’t work out, and the consequences are fatal.

Juliet’s relationship with her nurse (delightfully played by Julie Forsyth) is warm and tender, perhaps far more loving than that with her mother, Lady Capulet. 

Juliet’s cousin, Tybalt (Josh McConville) is played as a slightly sinister and hot tempered young man, like a football lout out for vengeance against imagined slights.  

Special mention must also be made of Eamon Farren’s excellent Mercutio and Akos Armont as Benvolio, Romeo’s friends. Young, hot-headed, brash and exuberant brilliant performances bring out the characters’ teasing wildness. Mercutio’s ‘Queen Mab’ speech in particular is excellently done. The drinks and smokes flow easily. Mercutio’s death is shattering and unexpected, yet light work for Tybalt on a sunny afternoon.       

Trendy, hip Friar Laurence, younger and cooler than usually portrayed, was given a most excellent performance by Mitchell Butel. He tries to help and advise the young lovers and is caught up in a whirlwind of events beyond his control.

Particularly in the second half there is bare minimalist staging – a ‘black box’ set, but with very dramatic and effective use of lighting. This contrasted with the more elaborate staging of Act 1 (especially, for example, the Ballroom/Party scene). The first act also features extensive use of the revolve for swift, cinematic scene changes. (The use of the revolve at times can almost make one ill, but you eventually get used to it.) There is no real balcony for Romeo to climb up, and the usually huge market scenes are very sparsely staged. The crypt for Juliet’s burial is indicated by an almost dreamlike flotilla of mattresses and pillows – most effective.   

An inspired, passionately, excellently performed production.

Rating: 3 ½ stars out of 5