Pure Shakespeare, no filler.
Bell Shakespeare cap a successful year with Shakespeare’s best tragic romance. A no-frills production which allows the text to shine, with generally strong performances, this is good William. But one wonders whether more could have been done elsewhere.
In director Peter Evans‘ style, the writing is front and centre. Production elements from sets to costumes are minimal. Some interesting lighting and sound design is featured, but is not intended (and nor does) get in the way. As a result, the beauty of the dialogue is untarnished; the poetry of Shakespeare is on full display. At the same time, it is accessible enough for all audiences to follow. One does not need to be fluent in the Bard to enjoy the show.
Much of that is thanks to the cast. Given this production has been touring since August, their time spent dissecting the text and grappling with its nuances has paid off. Brittany Santariga as Mercutio and James Thomasson as Benvolio are especially fantastic. Both are charming and comical performers who act as great counters to Romeo’s intensity. Ryan Hodson as Romeo is stereotypically heroic, and plays the role with a stunning amount of emotional depth. His performance in Acts 4 and 5 is exceptional. Also of note is Merridy Eastman as Nurse, who makes the most of her humorous monologues. Madeline Li works hard as Juliet, obviously understands the role and the language, but her performance is too overt. An emphasis on projection, reciting the dialogue, and a somewhat limited chemistry with Hodson at the outset holds her back.
Choreography by Simone Sault and associate fight direction by Thomas Royce-Hampton make the on stage movement slick and the duels visceral. Max Lyandvert‘s lighting makes the chronological progression clear. There is some set and costume design courtesy Anna Tregloan, but both are limited. Whether this be because of the show’s style, the fact that it has toured recently, or another reason, an extended run at the Sydney Opera House presented an opportunity to develop both. This could have occurred without compromising on the integrity of what is presented.
Ultimately, Romeo & Juliet is Shakespeare well done. It demonstrates why his work endures. Despite some missed chances, this performance finishes the 6-month tour on a high.
