A very original and touching experience
Setting Romeo and Juliet in the in the Wild West might seem bizarre but if the director Sean Holmes was not going to use 15th century Verona, he needed an era when it was not unusual to have fighting in the street, writes Elizabeth Carlin.
The plain wooden boarding, increasingly blood stained, suggesting a saloon with swing doors, and an upper story that swung open, disguised the classical pillars and provided valuable opportunity for sudden entrances, exits and surprise appearances.
Grant Olding’s music added a flourish, pathos or menace to these activities and also provided a spirited accompaniment to the often funny set-piece dances that occurred throughout. For the first third of this performance there were a lot of laughs, often provided by Peter, (Darmesh Patel) who also provided the voice of authority as the Prince.
Benvolio, (Roman Asde) set the scene and the opening skirmishes between the Montagues and Capulets and the preparations for the ball were rushed through at speed. Michael Elcock (as Mercutio) and Benvolio discuss the lovesick Romeo with much bawdy wit and the Queen Mab speech was a showstopper involving audience interaction.
Romeo (Rawead Asde) is persuaded to go to the ball, masked to meet his love Rosalinde. The audience has been introduced to Juliet (Lola Shalam) and her nurse (Jamie-Rose Monk) and Capulet’s (Colm Gormley’s) intention to marry his daughter off to Paris (Joe Reynolds). The ball scene is cleverly handled; Capulet starts the dance, which is both formal and silly, a line dance accompanied by the ban, which has appeared through the upper opening. (There’s a very funny bit of business when Capulet, at one time irritated by the plucking, shouts “stop that banjo”). The dance is briefly interrupted by the arrival of Romeo and his mates and as they join in, the music, a version of ‘Don’t you rock me daddy-o!’, underlines Romeo’s first sight of Juliet. The movement around the stage makes it clear they have both been struck by love at first sight and is sufficient to alarm Paris, who whisks her away. Tybalt (Callum Callaghan) also recognises him as a Capulet.
So far so amusing. The production emphasises the impulsivity of Romeo, a trait which is given an essay in the programme, both the advantages and disadvantages of such behaviour being discussed. The space of the Globe begins to be used very effectively when Romeo hides from his friends in the pit and when the balcony, complete with Juliet is wheeled through the groundlings towards the stage.
It is then the mood begins to change. Romeo speaks eloquently of his love and Juliet’s response hits the right tone. Friar Lawrence (John Lightbody) is allowed a much more dominating role in this production than in any others I’ve seen and speaking his lines clearly, talks of the dangers and dual value of the herbs he is using, foretelling the tragic ending. The impulsive theme again recurs as he readily agrees to marry the pair.
The fights are frenzied and frequent with flashing knives and gunshots. Romeo, flushed with joy from his marriage and looking forward to his wedding night, is unable to stop Tybalt killing Mercutio and in a rage killing Tybalt himself. The deaths are anguished and lengthy as if to emphasise that all humour is gone. As the deaths increase the corpses arise and sit on one of the four chairs against the back wall. A curious device, but potent. By the end, all four chairs are occupied: Mercutio, Tybalt, Juliet and Paris. Only Juliet arises, in her wedding gown, from the dead, but soon joins her Romeo.
Friar Lawrence’s plan has of course completely misfired. The plot so familiar has been enlivened by this production and after a rather static start, drew the audience in to a very original and at times touching experience.
Shakespeare’sGlobe, Bankside, SE1 until August 2nd.
Booking and full details: https://www.shakespearesglobe.com/whats-on/romeo-and-juliet/#details
