Shakespeare's Romeo and Juliet, directed by Todd Macdonald
25th May - June 16th 2019
Swordplay and wordplay star in an exhilarating reimagination of Shakespeare’s starcross’d lovers
“What could be more universal and timeless than love?" says artistic director Todd MacDonald, who has reimagined a hasty 105 minute production of Shakespeare’s ubiquitous love story, Romeo and Juliet for La Boite’s intimate Roundhouse Theatre.
In answer to MacDonald’s rhetorical question, nothing is more timeless than love ... except maybe innuendos. This production of Romeo and Juliet does exactly what it portends to do - make Shakespeare accessible to a young audience. Swords, explicit jokes, contemporary clothes and a banging soundtrack - Sweet Disposition by The Temper Trap - make this happen. Of course, any modern production of R&J is inescapable from the stylistic clutches of Baz Luhrmann, but as MacDonald says “guns are lame on stage” and instead the play is full of swordplay and wordplay. No interval makes it as fast-paced and as bouncy as the young, athletic cast, six of whom are QUT undergrads. Cutting the iconic prologue proved surprisingly effective, as the audience was immediately immersed into an exhilarating ride through the emotions of the centuries-old love story.
It was a captivating, fast-moving and unconventional portrayal of the ‘star-cross'd’ lovers of Verona. The creative team didn’t recontextualise or rewrite the play - as Macdonald asserted that would “make no sense” - but it did lack a certain je ne sais quoi for those well-acquainted with the works of the bard. The poignancy was not lost, however, in the changes the practitioners made. Capulet (Kerith Atkinson) and Montague (Colin Smith), whose re-gendered roles were combined, make eye contact across the dead bodies of their children, momententarily instilling in the audience reason to question the pointless loss of young life. My adoration of the play means I am difficult to please when it comes to modern adaptations - but I was not disappointed by MacDonald’s version. MacDonald suggested the team “looked at it through a contemporary lens and the result is a production that is physical, visceral, relevant and really accessible”. Miscommunication is the fatal flaw of many a Shakespearean drama yet this production hopes to rekindle a youthful love of the bard’s poetry through a clear communication of its power and meaning.
Showcasing the upcoming talents of QUT as well as La Boite veterans, the intergenerational-cast was almost faultless. What stuck with me most was the brilliant, dynamic portrayal of Mercutio, the loss of whom (act IV, scene IV) hurt more than usual. This is enhanced by a significant shift in the mood of Anna Whitaker’s poppy-electronic soundscape. I was head-over-heels with the way newcomer Grady Ferricks-Rosevear portrayed Mercutio as mischievous, probably on drugs and very much in love with life and everyone around him, in a manner viscerally portrayed through his unedited Queen Mab monologue. He flew about the stage with the graceful clumsiness of clowning, creating an electric, tense atmosphere that enhances the chemistry between all the characters not just the titular roles. Jack Bannister perfectly encapsulated Romeo's impulsive passionate behaviour though a feisty Darcy Gooda’s portrayal of Juliet was stained by garbled monologues and petulance throughout the play. Yet my tears started to spill at “God knows when we shall meet again” as Gooda delivered her final heartbreaking monologue showing how young and innocent they really are. I was also invested in the eloquent and thoughtful way Eugene Gilfedder played Friar Lawrence, his gravitas contrasting beautifully with the passionate energy of the younger actors.
Anthony Spinaze’s minimalist, uncluttered set effectively enhanced all aspects of production. The audience surrounds the Roundhouse’s sunken stage, which was raised to a versatile wooden platform, reverberating with footsteps and voices, as well as putting the front row seats on the same level as the cast, further developing an acute sense of accessibility. A dual-layered set of steps give levels to the actors to play with, acting as both the iconic balcony and to give characters like the Prince a degree of elevation. Trap-doors concealed in the stage were used frequently and effectively, acting as both the Friar’s herb gardens and, hauntingly, the Capulet’s tomb. Spinaze also designed the contemporary costumes - which were paradoxically both simple and distracting from the archaic weight of such a play. One audience member in the post-show Q&A, amusingly remarked that Romeo looked like American rapper Macklemore. However the subtle colour symbolism of Spinaze’s costuming gave the audience a subconscious understanding of the play.
Katie Sfetkidis’ intimate lighting created a set that enhanced Spinaze’s design, masterfully shifting the audience’s gaze to manipulate focus and heighten emotion. The emotional connection between characters was physically manifested on stage through spectacular choreography (Nigel Poulton), such as the dance between the likeable Paris (Nikhil Singh) and Juliet - the physicality was spellbinding - as were the dynamic sword fights; Wei Lan Zhang was an engaging gender-bend ‘Prince of Cats’.
Towards the denouement, there was a certain amount of irreverence and ennui from the catcalling young audience, who preferred the sexual innuendos to tragedy. Approaching Shakespeare like it was written, MacDonald allows the characters to laugh and gesticulate the innuendos. Additionally, the indicative acting - Gilfedder gesturing to his eyes for “salty brine” - which may appear awkwardly excessive for audiences well-versed with Shakespeare’s works, meets MacDonald’s target youthful audience, helping to bring the text to life.
A captivating, fast-moving reimagination of the iconic 400-year-old love story, MacDonald divulges the secrets of keeping young people engaged with the world of the Bard.
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