R & J

Shakespeare’s Romeo and Juliet has been performed with any number of glosses over the centuries.  All the more kudos goes to director Sarah McKellar for bringing us a fresh version that seems ideal to tour schools to introduce a new generation of audiences to the eternal theme of tragic young love.

Entering the room, audience members take sides based on their location around the central performance area – Montagues vs Capulets. The introductions, staged in the manner of a boxing match or similar combative sport, reveal that four young performers ambitiously take on the roles of the entire cast. Between cheers and boos at the announcements, we find that the dramatis personae has been somewhat condensed, with the young lovers having only one parent each and Mercutio becoming a useful portmanteau character more firmly on the side of the Montagues and the Nurse similarly adjusted as his Capulet counterpart. Distinctions between roles are achieved using masks and coats, or in the case of Paris and the Prince, only a coat and a giant mask with a matching set of hands, respectively.

The story unfolded in the usual fashion, but with an emphasis on moving us through the action and main themes of the play.  Various long-winded responses by bit players were reduced to their essential meanings, in modern terms, while leaving the key speeches word perfect. The workshopping process has led to some lovely asides from the Nurse and Mercutio at different points, such as when Mercutio goaded Romeo into chatting up a girl at a party and the Nurse suggested possibly taking Juliet to dinner for a first date, rather than marrying her straight off. 

Finding age-appropriate leads casting has traditionally been the main shortfall of live performances of this play, but Andy Ryan and Lucy Clements were as fresh-faced, energetic, thoughtless and fatefully manipulated by events as could be desired.  Using mini-me puppets, they skilfully put a new focus on the question of how much Romeo or Juliet were personally responsible for developments, and how much they were each simply pawns in the right place at the right time (or not).  This could have been more confusing with the unabridged play, but with the simplified dialogue and faster-paced action, there was room for these extra considerations and stylised moments. 

Jonathan Best as Mercutio and Friar Lawrence was impressive with the conviction in each of his parts, while Ellen O’Connor as the Nurse and Tybalt was sharp-tongued and truly made each role her own.  A particular highlight was the way that the fight scenes were so abstract and symbolic, but still clear in their intent. The full drama of a jacket falling to the ground has never been so evocative as in this wonderfully workshopped scene between Mercutio and Tybalt.

Technically North Sea Boat Terminals has elected to keep things simple, relying on close attention from the sound operator and otherwise letting the performers work together, as actors and puppeteers, to keep the action lively and engaging.  This will work well if, as hoped, they tour this production to a range of venues. 

Finding the humour in the tragedy, while still retaining the pathos of the denouement between the grieving families, this production of R & J is a compelling and fresh treatment of Shakespeare’s tale of such woe, well deserving a wider audience.

Image: North Sea Boat Terminals Theatre Company Facebook page by Jeff Watkins