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Review: Romeo & Juliet (Northern Broadsides)

June 4, 2008

Venue: The Lowry
Date Reviewed: 4th June, 2008

star

“If music be the food of love, play on” may be the opening lines of Twelfth Night, but they could as easily be applied to Northern Broadside’s current production of Romeo and Juliet. This production is filled with music, from jovial folk tunes to solemn funeral bells, and this lends an extra dimension, enhancing an already engaging adaption.

One of Shakespeare’s most famous plays, R&J tells the story of two young people’s passion overcoming the long standing feud between their families, and the way in which bad luck leads inexorably to the youngsters’ deaths.

These two iconic young lovers are played with enthusiasm by Benedict Fogerty and Sarah Ridgeway. They make a likely pairing and provide the naiveté and exuberance that the parts require. Fogerty’s initial portrayal of wide-eyed love for Rosaline is tempered nicely as the play progresses into a more genuine feeling for Juliet, although at times he slips into a broader style of acting which threatens to undermine his performance.

Ridgeway imbues her Juliet with plenty of energy and her initial girlish giggle contrasts with the raw mood in later, darker scenes. Although she seems to struggle with some of the longer speeches, it does not detract too much from a very convincing turn.

In contrast it must be said that some of the older actors are awkward and unsubtle in the interpretations of their characters, making it harder to keep disbelief at bay. This doe not apply, however, to Sue McCormick whose Nurse is a great comic creation, or to Fine Time Fontayne’s sensitive and powerful performance as Friar Laurence.

Originally performed in the round at the New Vic, Lis Evans’s stripped back stage design with its central dais works well on the Lowry’s Quays stage, and the director, Barrie Rutter makes full use of the performance space.

Special mention should also be made of Peter Toon’s performance as Mercutio, lending the character a warmth that makes his subsequent death all the more tragic, and of his stellar trumpet- and trombone-playing during the Capulet’s ball. As with other musical interludes, including the drumming that punctuates the fight scenes, this brings the piece to life and lets the audience feel the reality of the story.

Yes, there are weaknesses in some of the performances in this production, but there is no denying the quality of the intent to breathe new life into this frequently performed play, making it appealing and enthralling.

- Calum Kerr

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