Romeo and Juliet:The Musical - at the Piccadilly Theatre.
ROMEO AND JULIET: THE MUSICAL
Piccadilly Theatre
Based on a conception by Gerard Presgurvic and the play by William Shakespeare
Monday - Saturday 7:30pm
Wednesday and Saturday at 3pm (Wednesday matinee performances start 6th November)
Runs: 2h 30m, One interval of 15 minutes
Review: Emma Dunford
Box Office 020 7369 1717
The acting may be questionable and it is true that Bernstein got there first, but Romeo and Juliet: The Musical is undoubtedly a showstopper.Romeo and Juliet: The Musical is exactly what its title implies. Don't go expecting to hear the familiar poetry of Shakespeare's ultimate tragic-love story, or to expect to be absorbed by top quality acting. Do go to be brilliantly entertained and to enjoy a musical score that will leave the hairs on your neck standing on end. It is a showstopper and it is phenomenal.
It is still set in Verona marked by a simplistic yet highly effective set but the Montagues and Capulets are in retro gear and sexy leathers rather than ruffs and (less-sexy) tights. In a provocative twist Tybalt declares his love for Juliet and reveals his desire in a lustful and egotistical soliloquised song. Juliet's mother is more maternal than the play would suggest, and appears to maintain a similar relationship with her daughter to the nurse although I'm still not convinced that this was part of the show's design. And another interesting perversion sees rumours spreading around the city about the star-crossed lovers' imminent affair, before Romeo has even been banished. Yet all these changes, or interpretations', have allowed for some fantastic and haunting songs to dominate the score.
The musical does subtly retain the essence of the bard's original, with comedy matching brutality and love mirroring hate. And even though the lyrics and the verses of the play are incorporated only marginally, the sporadic references did satisfy my need to see some of Shakespeare's talent manifested, with some deliberate endorsements of the original text the Montagues bite their thumbs in the opening, but the sixteenth-century derogative is modernised with a protruding middle finger!
But it is the music and the quality of the casts' voices that really sells the show, with catchy songs that are both powerful and memorable.
A special mention must go to Lorna Want who plays Juliet. Even though her presence on stage is simply virginal a stark contrast to the leather-clad Romeo whose part as the love-struck dreamer is played superbly it is easy to forget that she is only fifteen years old, as her voice is so rich and strong that she is a sure contest for many of the adult cast members. S Club Juniors made a big mistake letting her go, although the musical has certainly benefited!
Also displaying a stunning operatic quality of voice is Friar Lawrence, the mentor, whose involvement brings him to question his relationship with and the existence and eminence of God. Evocatively portrayed, he gains the wholehearted respect that his character so rightly deserves. And I cannot fail to mention the chorus who are astounding, with complex choreography performed with unprecedented talent it is not only a musical but a professional dance show as well.
West Side Story is definitely more inspiring, the acting is, at times, more than questionable, I'd would have liked to have seen it incorporate a bit more of the spirit and poetry of Shakespeare's original: but this musical will leave you singing on the tube on your way home.
The Prince: Michael Cormick
Benvolio: Matt Dempsey
Mercucio: Rachid Sabitri
Tybalt: Alexis James
Lord Capulet: David Bardsley
Lord Montague: James Graeme
Lady Capulet: Michele Hooper
Lady Montague: Louise Davidson
Juliet: Lorna Want
Romeo: Andrew Bevis
The Nurse: Jane McDonald
Paris: Tim Walton
Friar Lawrence: Sevan Stephan
Ensemble: Simon Bailey, David Christopher, Amy Creighton, Stuart Dawes, Zara Dawson, Hadrian Delacey, Lez Dwight, Magnus Engqvist-James, Susie Fenwick, Chris Middlebrook, Ebony Molina, Tamsin Stewart, Carly Tancredi, Melanie Tate, Gary Tushaw, Tamara Wall, Matthew Wolfenden
Swings: Chloe Bell, Jo Cavanagh, Nic Ineson, Martin Matthias
Music: Gerard Presgurvic
Lyrics: Don Black
Book and Director: David Freeman
Choreographer: REDHA
Set and Costume: David Roger
Lighting: Chris Davey
Orchestrator and Musical Supervisor: John Cameron
Musical Director: Howard Moody
Fight Director: Malcol Ranson
Casting: Anne Vosser
2002-11-07 21:05:59