ROMEO AND JULIET. In rep to October 5.
Chichester
ROMEO AND JULIET
by William Shakespeare
Chichester Festival Theatre In rep to 5 October 2002
Mon-Sat 7.30pm Mat Thu & Sat 2.30pm
Runs 2hr 55min One interval
TICKETS 01243 781312
Review Timothy Ramsden 18 September
A production concept that fails to follow through in detail, and limited success in key performances lets down this latest resurrection of the star-crossed lovers.In an age of youth-dominated images and audiences accustomed to TV close-up reality, this play demands the youngest company members take centre stage. Unless you catch the latest Dench or Branagh straight from drama school or university, this can cause problems.
Emily Blunt's Juliet has a youthful impulsiveness and excitement, though at times later on the voice needs more tonal variety. When someone's lost in love or anguish, we should experience the character's strain, not the performer's.
Lex Shrapnel's Romeo is often little more than a whining, self-pitying youth. Yet Romeo is trying to extend himself, to bring in however naïve a way reconciliation between two enemy families, and he must have something to let us understand why he inspires Juliet's love. Otherwise both become less star-crossed than merely moonstruck.
Technically, Shrapnel's constant extremity of voice and face blanks out character detail. But Romeo's not the only case which suggests a capable young performer needing more directorial support. Jack Tarlton's Mercutio has an energy and apparent intelligence which is largely nullified by unvaried, ill-judged vocal delivery. The anger he develops during the Queen Mab, dreams-as-lies, speech doesn't connect with anything elsewhere.
Lack of overall coherence is the problem with the production's setting: Istanbul, meeting place of Europe and Asia, of Christianity and Islam. It gives a powerful cause of division between two families but there's little sense of two traditions side-by-side, of contrasting beliefs and lifestyles. Men and women behave no differently from any other production. Only the set, costumes - and the inflections of Paul Englishby's apt score make any cultural point.
It seems like a concept that lost out in rehearsals. Unsurprisingly, the more experienced actors do best, though Alexis Conran makes an apt Tybalt. Richard O' Callaghan invests the Friar with a troubled urgency and Una Stubbs handles the Nurse's lines skilfully. But there's little to weld even the better parts into a unified whole.
Prince: Christopher Brand
Montague: David Lumsden
Benvolio: Sibusiso Mamba
Lady Montague: Sharon Maharaj
Romeo: Lex Shrapnel
Capulet: Paul Shelley
Paris: Guy Rhys
Peter/Apothecary: Miltos Yerolemou
Lady Capulet: Victoria Carling
Nurse: Una Stubbs
Juliet: Emily Blunt
Mercutio: Jack Tarlton
Tybalt: Alexis Conran
Friar Lawrence: Richard O' Callaghan
Tubalt's Man/Captain of the Watch/Citizen: David Beckford
Balthasar: Ben McKay
Friar John: Andrew Pepper
Paris's Page/Citizen: Will Huggins
Citizens: Lucy Betts, Nick Brown, Fran Gray, Dan Hill, Naomi Hill, Simon Morgan, Ollie Porter, Nik Roberts, Chloe Skry
Director: Indhu Rubasingham
Deasigner: Colin Falconer
Ligfhting: Chris Davey
Sound: Paul Arditti
Composer: Paul Englishby
Choreographer: Nichola Treherne
Fight director: Terry King
Voice coach: Neil Swain
2002-09-20 09:14:41