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Romeo and Juliet take
to the street
Romeo and Juliet
Malvern Theatre
**** From forth the fatal loins of these two foes A pair of star-crossed lovers take their
life! ROMEO and Juliet must be one of the most
studied Shakespeare texts for teenagers in schools in our nation, but
this production by the Custom/Practice and Newbury Corn Exchange gives a
very new experience of the famous play. While Shakespeare's text is considerably cropped
and excerpted in this production, the company keep all the best bits,
the famous lines, and add a dynamic element of street dance that makes
the show come alive for a contemporary audience in a thoroughly fresh
and vigorous way. A number of elements in the play naturally lend
themselves to dance. The street fighting scenes are brilliantly
portrayed in this way. The Capulet ball is likewise perfectly suited to
a fresh style of dance interpretation.
One of the most expressive moments was in Act
Three Scene 5 when the lovers enjoy their wedding night and struggle to
part in the morning. The scene was introduced by a beautiful dance by
the two that was thoroughly tasteful but indicative of their passion and
love before they settled into the sheets with an
The whole approach and interpretation was
refreshing, youthful and energetic and gave the historic classic a new
feel. This interpretation was particularly effective in
the first half. The second half of the play offered fewer opportunities
to introduce dances, though the style of expression of the cast
throughout was full of dance-type gesture. Night’s candles are burnt out, and jocund day stands tiptoe on the misty mountain tops. The consequence was that the second half relied
more heavily on Shakespeare and his amazing language. However the effect
of cutting out quite a lot of text meant that the final scene at the
tomb lacked some of the normal intensity. The Friar's confession and
explication seemed rather wordy and long! The play was designed with an abstract,
geometrical set by Amanda Mascarenhas that served well and effectively,
providing different levels for scenes such as the famous balcony scene
and Romeo clambering over garden walls. At the centre was a rather
coffin-shaped box that served as a banqueting table and various other
devices before the final tragic scene in the tomb. Nic Farman’ s Lighting was very atmospheric and
varied in colour, angle and intensity that matched the style of the
show: the shift of lighting to introduce slow motion moments in the
dance was very poignant. The necessary music to accompany the dance,
composed by Michael ‘Mikey J’ Asante, was extended to provide something
of a filmic atmosphere in many scenes: this in turn meant that there
were moments of very telling silence or stillness interrupted by the
ticking of a clock or the tweeting of birdsong. The dress was largely modern though elements of
period were suggested in Mabyn Aita’s designs: the modern atmosphere was
complemented by a very relaxed and informal opening with the cast
casually chatting together on the stage before the show opened, looking
out over the audience, playing street games etc. Then suddenly we were
thrust into the atmosphere of street dance club as the lights and the
crashing music burst into life. The multi-ethnic cast did a tremendous job of
creating a show that should make Shakespeare appealing to all ages. If
Nathanael Campbell's Benvolio's hand gestures at times seemed a bit
excessive, we quickly accepted the style of the show and the youthful
exuberance of expression. Arun Blair-Mangat and Remmie Milner provided
an enchanting lead couple with skilful dance and good diction. David
North's very randy Mercutio came across as rather angry. Michelle
Cornelius as the Nurse was outstanding and achieved a wonderful range of
humour, pathos and dramatic life. This show is towards the end of its current run.
It is youthful, exuberant, original and modern in the best sense.
Kenrick ‘H2O’ Sandy’s choreography generally was of a very high standard
and was reflected in the excellence of the dancing. It will bring
Shakespeare alive to a new generation and it would be great to see
growing numbers of youth witnessing it this week. Directed by Rae McKen,
Romeo and Juliet runs to 01-11-14 Timothy Crow
28-10-14
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infectious
giggle, only then to introduce Shakespeare's dialogue as they debate
whether indeed morning is breaking.