Romeo & Juliet (tour)

The most famous love story of all time is given a sharp new look by the
multi-award-winning English Touring Theatre, which this time puts its heavyweight casting to one side to showcase some bright young Shakespearean talent.

In this new reading, co-edited by the company’s artistic director Stephen
Unwin and company stalwart Michael Cronin, who plays Friar Laurence,
Shakespeare’s fast-paced introduction to his characters and simple
development in broad strokes is taken to its ultimate conclusion.

The play has been substantially cut – an ETT trademark which has upset some purists – but this has introduced an exciting pace to the unfolding of the
story. Furthermore, it creates an even greater contrast with the lyricism
of the language between the star-crossed lovers and the glorious poetry of
their love-making – which is all retained and emphasised in sharp
relief.

There is nothing on stage to distract from this, a simple raised
sloping platform devoid of props with a gold framed balcony high above it
the only set, Malcolm Rippeth‘s lighting and Olly Fox‘s original music
setting the mood. Unwin has placed his production in the 1940s, Mark
Bouman‘s costume design offering a touch of Hollywood glamour.

The
break-neck pace of the opening scenes as the rival Capulets and Montagues
posture and fight for the upper hand is almost too machine-gun in feel –
definitely more West Side Story than the Bard. But with the awakening of
love between our heroes (Adam Croasdell and Laura Rees) amid stolen yet
sexually-charged glances across the dance-floor, the action settles down
and, after the interval particularly, is beautifully judged.

Croasdell
cuts an heroic figure as the idealistic romantic with Rees a suitably
virginal Juliet, which makes her realisation that the cruel real world
offers few concessions to idealism all the more tragic. Their balcony
scenes are richly romantic and their death scene deeply moving.

Anna
Francolini is a cold and remote Lady Capulet until the apparent loss of her
daughter forces her to reveal pent-up feelings, while nurse Marjorie
Yates wears her heart firmly on her sleeve as she tries to smooth the
couple’s path to love.

Yates switches mood to provide some of the lighter
moments alongside the larger-than-life O T Fagbenle as Mercutio and
Thomas Nelstrop as the illiterate Peter.

This is a Romeo and Juliet for
all ages – with ETT’s reputation proving the point, at the Norwich first
night I saw everyone in the audience, from pre-teens to
pensioners, was captivated.

– John Lawson (reviewed at Norwich Theatre Royal)